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BIOGRAPHICAL SKETCHES- 


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MICHIGAN STATE LIBRARY 


LANSING 



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JOHN WHITE ALEXANDER. 

President of the National Academy of Design, New York. 



BIOGRAPHICAL SKETCHES 



OF 



AMERICAN ARTISTS 



ART DEALS WITH THINGS, HOWEVER, INCAPABLE OF DEFINITION AND THAT 
BELONG TO LOVE, BEAUTY. JOY AND WORSHIP."— Plotinus. 



MICHIGAN STATE LIBRARY 
LANSING 

1912 









ft nv % 

APP 29 W? 



FOREWORD. 

This bulletin is the result of an increased public demand for biogra- 
phies of American artists and other information relative to the growth 
of art in America. An examination of the list of material to which 
reference has been made will show the faithful work which has been 
done by the compiler. Miss Helen L. Earle, of this department. 

MARY <\ SPENCER, 

State Librarian. 



TABLE OF CONTENTS 



Painters 9 

Sculptors 11 

Illustrators 11 

Etchers _ 12 

Miniature painters _... 12 

Mural and stained glass designers __ _ 13 

Members of the Legion of Honor. . _ 14 

Biographical sketches 17 

Bibliography I95 



spiece 



PORTRAITS 

John White Alexander. Fronti 

Edwin Austin Abbey Facing page 17 

George Inness " " 95 

John LaFarge " " 103 

J. Gari Melchers " " 114 

Elizabeth Nourse " " 129 

Augustus Saint-Gaudens " " 151 

John Singer Sargent " " 153 

Henry Ossawa Tanner " " 166 

James Abbott McNeill Whistler " " 187 



PAINTERS. 



Abbey, Edwin Austin 
Alexander, John White 
Allston, Washington 
Anschutz, Thomas Pollock 
Armstrong, D. Maitland 
Baker, Elizabeth Gowdy 
Baker, Ellen Kendall 
Beaux, Cecilia 
Beatty, John W. 
Beckwith, James Carroll 
Bellows, George Wesley 
Benson, Frank Weston 
Bierstadt, Albert 
Bisbing, H. Singleton 
Blakelock, Ralph Albert 
Blashfield, Edwin Howland 
Blum, Robert Frederick 
Bogert, George 
Borglum, J. Gutzon M. 
Breuer, Henry Joseph 
Bridgman, Frederick Arthur 
Browne, George Elmer 
Brush, George DeForest 
Carlsen, Emil 

Carpenter, Francis Bickwell 
Cassatt, Mary 
Champney, James Wells 
Chapman, John Gadsby 
Chase, William Merritt 
Church, Frederick Edwin 
Clarke, Thomas Shields 
Cole, Thomas 
Copley, John Singleton 
Cooper, Colin Campbell 
Couse, Eanger Irving 
Cowles, Genevieve Almeda 
Cox, Kenyon 
Crane, Bruce 
Crowninshield, Frederic 
Dabo, Leon 
Dabo, Theodore Scott 



Daingerfield, Elliott 
Dannat, William T. 
Davies, Arthur B. 
Davis, Charles Harold 
Dearth, Henry Golden 
DeCamp, Joseph Rodefer 
DeHaven, Frank 
DeKay, Helena 
Dessar, Louis Paul 
Dewing, Maria Oakey 
Dewing, Thomas Wilmer 
Dewey, Charles Melville 
Dillaye, Blanche 
Donoho, Gaines Ruger 
Duveneck, Frank 
Eakins, Thomas 
Eaton, Charles Harry 
Eaton, Wyatt 

Elliott, Charles Loring 

Enneking, John Joseph 

Farney, Henry 

Fisher (William) Mark 

Forbes, Edwin 

Foster, Arthur Burdett 

Foster, Ben 

Fournier, Alexis Jean 

Fowler, Frank 

Frieseke, Frederic Carl 

Fuller, George 

Gay, Walter 

Genth, Lillian Matilde 

Gibson, Charles Dana 

Gifford, Robert Swain 

Glackens, William 

Grayson, Clifford Provost 

Groll, Albert Lorey 

Gruppe, Charles Paul 

Guerin, Jules 

Gutherz, Carl 

Harrison, (Lovell) Birge 

Harrison, Thomas Alexander 



10 



Hassam, Childe 

Healy, George Peter Alexander 

Henri, Robert 

Higgins, Eugene 

Hitchcock, George 

Homer, Winslow 

Hovenden, Thomas 

Howe, William Henry 

Hunt, William Morris 

Inman, Henry 

Inness, George 

Inness, George, Jr. 

Ives, Percy 

Johnson, Eastman 

Johnson, Marshall 

Johnston, John Humphreys 

Jones, Hugh Bolton 

Kendall, William Sergeant 

Kirk, Maria Louise 

Knight, Daniel Ridgway 

Kost, Frederick 

LaFarge, John 

LeRoy, Anita 

Leutze, Emanuel 

Loeb, Louis 

Low, Will H. 

Luks, George Benjamin 

MacCameron, Robert 

MacEwen, Walter 

MacMonnies, Frederick W. 

Marshall, William Edgar 

Martin, Homer Dodge 

Melchers, J. Gari 

Metcalf, Willard Leroy 

Miller, Richard 

Millet, Francis Davis 

Mitchell, John James 

Moran, Edward 

Moran, Peter 

Moran, Thomas 

Mosler, Henry 

Murphy, John Francis 

Xast, Thomas 

Nicholls, Rhoda Holmes 

Nordfeldt, Bror J. Olsson- 

Nourse, Elizabeth 

Ochtman, Leonard 

Osthaus, Edmund Henry 

Page, Walter Gilman 

Pape, Eric 

Parker, Edgar 

Parrish, Maxfield 



Parrish, Stephen 
Paxton, William McGregor 
Peale, Charles Watson 
Pearce, Charles Sprague 
Penfold, Frank C. 
Picknell, William Lamb 
Prellwitz, Edith Mitchell 
Prellwitz, Henry 
Proctor, Alexander P. 
Pyle, Howard 
Ranger, Henry Ward 
Redfield, Edward Willis 
Reid, Robert 
Remington, Frederic 
Richards, William Trost 
Robinson, Theodore 
Rolshoven, Julius 
Ryder, Albert Pinkham 
Sargent, John Singer 
Sartain, William 
Schofield, W. Elmer 
Schneider, Otto J. 
Shannon, James Jebusa 
Shinn, Everett 
Shirlaw, Walter 
Simmons, Edward Emerson 
Smedley, William Thomas 
Smillie, James D. 
Smith, Francis Hopkinson 
Smith, Jessie Willcox 
Smith, Letta Crapo 
Sterner, Albert E. 
Stewart, Julius 
Stuart, Gilbert 
Sully, Thomas 
Tanner, Henry Ossawa 
Tarbell, Edmund C. 
Taylor, William Ladd 
Thayer, Abbott Henderson 
Tiffany, Louis Comfort 
Trumbull, John 
Tryon, Dwight William 
Twachtman, John Henry 
Vail, Eugene 
Vedder, Elihu 
Yolk, Douglas 
Vonnoh, Robert William 
Walden, Lionel 
Walker, Henry Oliver 
Walker, Horatio 
Waugh, Frederick J. 
Webster, Herman 



11 



Weeks, Edwin Lord 
Weir, Julian Alden 
Wentworth, Cecile de 
Whistler, James Abbott McNeill 



Wiggins, Carleton 
Wiles, Irving Ramsey 
Wyant, Alexander Helwig 



SCULPTORS. 



Adams, Herbert 
Barnard, George Grey 
Bartlett, Paul Wayland 
Baxter, Martha Wheeler 
Bitter, Karl Theodore 
Borglum, John Gutzon M. 
Borglum, Solon Hannibal 
Cadwalader-Guild, Emma Marie 
Clarke, Thomas Shields 
Donoghue, John 
Duveneck, Frank 
Eberle, Abastenia St. Legar 
Elwell, Frank Edwin 
Ezekiel, Moses Jacob 
French, Daniel Chester 
Grafly, Charles 
Hosraer, Harriet 
Hyatt, Anna Vaughn 
Kemeys, Edward 



Ladd, Anna Coleman 
Lamb, Ella Condie 
Lewis, Edmonia 
MacMonnies, Frederick W. 
MacNeil, Harman Atkins 
Mears, Helen Farnsworth 
Ney, Elizabeth 
Niehaus, Charles Henry 
Potter, Edward Clark 
Pratt, Bela L. 
Proctor, Alexander P. 
Remington, Frederic 
Roth, Frederick G. R. 
Saint-Gaudens, Augustus 
Scudder, Janet 
Taft, Lorado 
Vonnoh, Bessie Potter 
Ward, John Q. A. 
Warner, Olin L. 



ILLUSTRATORS. 



Abbey, Edwin Austin 
Ahrens, Ellen W. 
Birch, Reginald Bathurst 
Blashfield, Edwin H. 
Borglum, J. Gutzson M. 
Chandler, George W. 
Clark, Walter Appleton 
Christy, Howard Chandler 
Church, Frederick S. 
Cory, Fanny Y. 
Crowninshield, Frederic 
Dielman, Frederick 
Dillaye, Blanche 
Eaton, Charles Harry 
Emmet, Lydia Field 
Farny, Henry 



Tisher, Harrison 
Forbes, Edwin 
Frost, Arthur Burdett 
Gibson, Charles Dana 
Glackens, William J. 
Green, Elizabeth Shippen 
Guerin, Jules 
Hutt, Henry 
Hyde, Helen 

Kemble, Edward Windsor 
Kirk, Maria Louise 
Lamb, Ella Condie 
Loeb, Louis 
Low, Will H 
Maynard, George W. 
McCarter, Henry 



12 



Moran, Thomas 
Nast, Thomas 
Nicholls, Rhoda Holmes 
Oakley, Violet 
Pape, Eric 
Parrish, Maxfield 
Pennell, Joseph 
Preston, Mary Wilson 
Pyle, Howard 
Reinhart, Charles Stanley 
Remington, Frederic 
Robinson, Theodore 
Seton, Ernest Thompson 
Sherwood, Rosina Emmet 
Shinn, Everett 



Shinn, Florence Scovel 
Smedley, William Thomas 
Smillie, James D. 
Smith, F. Hopkinson 
Smith, Jessie Willcox 
Stephens, Alice Barber 
Sterner, Albert Edward 
Stilwell, Sarah S. 
Taylor, William Ladd 
Vedder, Elihu 
Waugh, Frederick J. 
Wenzell, Albert Beck 
Wright, M. Louise Wood 
Yohn, Frederick Coffay 



ETCHERS. 



Bacher, Otto 
Beatty, John W. 
Blum, Robert F. 
Brown, George Loring 
Cassatt, Mary 
Chandler, George W. 
Chapman, John Gadsby 
Chase, William Merritt 
Church, Frederick S. 
Dielman, Frederick 
Dillaye, Blanche 
Duveneck, Frank 
Forbes, Edwin 
Gifr'ord, Robert Swain 
Greatorex, Eliza 
Hornby, Lester G. 
Hyde, Helen 
Loeb, Louis 



MacLaughlin, Donald Shaw 

Merritt, Anna Lea 

Mielatz, Charles Frederick Win. 

Mitchell, John James 

Monks, John Austin Sands 

Moran, Mary Nimmo 

Moran, Peter 

Moran, Thomas 

Nordfeldt, Bror J. Olsson 

Parrish, Stephen 

Pennell, Joseph 

Schneider, Otto J. 

Smillie, James D. 

Stevens, Helen B. 

Washburn, Cadwallader 

Webster, Herman A. 

Weir, J. Alden 

Whistler, James A. McNeill 



MINIATURE PAINTERS. 



Ahrens, Ellen Wetherald 
Aid, George Charles 
Baer, William J. 
Baker, Martha Susan 
Baxter, Martha Wheeler 
Bayliss, Lillian 
Beckington. Alice 



Emmet, Lydia Field 

Fuller, Lucia Fairchild 

Hills, Laura Coombs 

Humphreys, Marie Champney 

Inman, Henry 

Josephi, Isaac E. 

Kendall, Margaret Stickney 



13 



Malbone, Edward Greene 

Sherwood, Rosina Emmet (Mrs. Arthur 

M.) 
Thayer, Theodora A. 



Welch, Mabel R. 
Whittemore, William John 
Wright, M. Louise Wood 



MURAL AND STAINED GLASS DESIGNERS. 



Abbey, Edwin Austin 

Alexander, John White 

Armstrong, D. Maitland 

Benson, Frank Weston 

Blashfield, Edwin H. 

Blum, Robert F. 

Cowles, Genevieve Almeda and Maud 

Alice 
Crowninshield, Frederick 
Cox, Kenyon 
Dielman, Frederick 
Uuveneck, Frank 
Frieseke, Frederic Carl 
Guerin, Jules 
Gutherz, Carl 
Heinighe, Otto 
Hunt, William Morris 
LaFarge, John 
Lamb, Charles Rollinson 
Lamb, Ella Condie 
Lamb, Frederick Stymatz 



Lathrop, Francis 
Low, Will H. 
MacEwen, Walter 
Maynard, George W. 
Millett, Francis Davis 
Mowbray, Henry Siddons 
Oakley, Violet 
Pearce, Charles Sprague 
Reid, Robert 
Robinson, Theodore 
Sargent, John Singer 
Shirlaw, Walter 
Simmons, Edward E. 
Sperry, Edward Peck 
Steele, Helen McKay 
Thayer, Abbott H. 
Tiffany, Louis Comfort 
Turner, Charles Yardley 
\ edder, Elihu 
Walker, Henry O. 
Willet, William 



14 



AMERICAN ARTISTS. 



OF THE 



LEGION OF HONOR. 






i The Legion of Honor of France is the most vital and democratic 
order in the world. It is an order of merit and has a genuinely inter- 
national significance. 

In the Paris salon the insignia of the order — the "red ribbon" — is the 
highest award given to exhibitors. 

The following American painters and sculptors have received this 
coveted prize, i 



Abbey, Edwin Austin 
Alexander, John White 
Armstrong, D. Maitland 
Bartlett, Paul Wayland 
Bierstadt, Albert 
Bisbing, H. Singlewood 
Bridgman, Frederic Arthur 
Cassatt, Mary 
Dannat, William T. 
Gay, Walter 
Harrison, T. Alexander 
Howe, William Henry 
Johnston, John Humphreys 
Knight, Daniel Ridgway 



LaFarge, John 

MacMonnies, Frederick William 

MacEwen, Walter 

Melchers, J. Gari 

Millet, Francis Davis 

Mosler, Henry 

Pearce, Charles Sprague 

Saint-Gaudens, Augustus 

Sargent, John Singer 

Stewart, Julius L. 

Tiffany, Louis Comfort 

Vail, Eugene 

Wentworth, Cecile de 

Whistler, James A. McNeill 



BIOGRAPHICAL SKETCHES 




Copyright by J. E. Purdy, Boston. 

EDWIN AUSTIN ABBEY. 



BIOGRAPHICAL SKETCHES. 

Abbey, Edwin Austin — "The painter of the past" — b. Philadelphia, 
Pa., April 1, 1852; d. London, England, August 1, 1911. At the age of 
four he produced pen sketches worthy of more than passing attention 
and when not more than fourteen, Harper accepted some of his pen 
illustrations. He studied a rear in the Pennsylvania Academy of the 
Fine Arts and in 1871, went to New York, where he joined Harper's art 
staff. In 1878 he was sent by that publishing house to England to 
gather material to illustrate Herrick's poems. His first painting in oil, 
"May day morn," was exhibited at the Royal Academy, London, in 1890 
and "Fiametta's song" in 1894. He was unexcelled by any living artist 
in rendering mediaeval subjects. His notable paintings in this line 
are "Richard III and Lady Anne," "Hamlet," "Trial of Queen Katker 
ine," "The penance of Eleanor," "Daughters of King Lear," "Crusaders 
sighting Jerusalem," "Columbus in the new world." 

The series of decorations in the Boston Public Library embodying 
the story of the "Holy Grail" is the most popular wall-painting in 
America. Caffin says of these scenes : "They are presented with an 
archeological exactness of costume and accessories and with much dra- 
matic action and regard for individual characterization." 

In 1909 he was commissioned to paint the coronation scene of King 
Edward VII. This painting now hangs in Windsor Castle. He de- 
clined the invitation to paint the official picture of King George's coro- 
nation. 

Mr. Abbey was honored by membership in the leading art societies of 
Europe and America and received decorations from several European 
governments in recognition of his artistic ability. He had a marvelous 
technique, was an illustrator of the greatest power and originality and' 
has been mentioned as one of the four greatest draughtsmen of the 19th 
century. 

Of his brushwork, Henry Strachey says: "He knows how to wield the 
magic of the brush so that his painting apart from its color or form is 
eloquent." 

At the time of his death he was engaged upon the commission from 
the state of Pennsylvania for decorative panels in the State Capitol at 
Harrisburg; less than half of the work had been accomplished. 

Royal Cortissoz, the art critic, says : "He was very gay and likeable, 
3 



18 

you felt in kirn honesty and force and you could see jnst how his sterling- 
nature poured itself into his work. In it he sought the truth, he wanted 
to make it live; with all his strength and with all his conscience he 
strove for a reality that would touch men, making them think and feel. 
He achieved this aim and made his best monument in the decorations 
at Harrisburg." 

In a late number of the Craftsman, Louis A. Holman, closes an article 
on the late Mr. Abbey and his work as follows : "I feel confident Abbey 
will hold his place as one of America's foremost colorists, as one of her 
rarest draughtsmen, as the most poetic painter of mediaeval subjects 
in his time and as the greatest illustrator that America has yet pro- 
duced." 

Adams, Herbert, Sculptor, b. West Concord, Vt., January 28, 1858. 
Studied sculpture five years under Mercie, Paris. On his return to the 
United States in 1890, he engaged as art instructor in the Pratt Insti- 
tute, Brooklyn, N. Y., where for eight years he criticised the modeling. 
Is a member of the Society of American Artists and vice president of 
the National Academy of Design. Associate member National Academy 
of Design, 1898 ; full member, 1899. 

Hartmann says: ''The best bust ever made in America is, in my 
opinion, Herbert Adams' bust of his wife." 

Taft in his "History of American sculpture," says: "In Mr. Herbert 
Adams, the whole fraternity recognizes a master almost unequaled in 
a certain form of sculpture as rare as it is exquisite — the creation of 

beautiful busts of women There is nothing so distinctive in his 

figures of men." 

Mr. Adams' experiments in coloring his busts are exceedingly inter- 
esting. He has shown a beautiful color bust of "St. Agnes," a "Por- 
trait of a young lady" in tinted marble in bronze decorations, and the 
"Rabbi's daughter" in pink marble, with dress and ample wide spread 
sleeves in wood with gold decorations. "It is in his choice and treat 
ment of these heads that Mr. Adams reveals his true personality." 
(Dorado Taft.) 

In his love of details he is closely akin to M. Dampt and M. Riviere- 
Theodore, the French sculptors. 

Ahrens, Ellen Wetherald, Miniature painter, b. Baltimore, Md., 
June 6, 1859. Pupil Boston Museum of Fine Arts under Grundemann : 
Pennsylvania Academy of the Fine Arts under Eakins; Drexel Institute 
under Pyle. 

Received second Toppan prize School of P. A. F. A.. 1881, and other 
prizes for oil painting and miniatures. 



19 

Aid, George Charles, Miniature painter, b. Quincy, 111. A pupil of 
Laurens and Benjamin-Constant in Paris. Received silver medal at St. 
Louis Exposition, 1904. A member of the Paris American Artists Asso- 
ciation and the American Miniature Painters. 

Alexander. John White, b. Allegheny, Pa., October 7, 1856. Pupil of 
Prof. Benczur of the Royal Academy, Munich, and of Frank Duveneck 
in Munich, Venice and Florence. Has been awarded many medals and 
won much distinction at home and abroad. Was elected chevalier of 
the Legion of Honor, 1901; is member of Soci^te Rationale des Beaux 
Arts, Paris, Munich Secessionists, International Society of Artists, 
London, and Vienna Society of Painters; president of the National So- 
ciety of Mural Painters; associate member of National Academy of De- 
sign, 1901; full member, 1902; president. 

Mr. Alexander is a painter of portraits, of mural decorations and 
of many figure pictures with a distinct decorative purpose. His 
"Woman in gray" hangs in the Luxembourg ; "The green bow" and "The 
picnic" have also been purchased by the French government. His "Pot 
of basil" reveals his talent for ideal figure subjects. Of his "Sunlight" 
which was awarded first-class medal at the 1911 spring exhibition of the 
Carnegie Institute, it was said: "For grace of lines, relative beauty of 
color and tone, and illusion of light — sheer necromancy of the painter 
— this work is without a peer in the exhibition." 

Other characteristic pictures are: 

"The mirror" "A toiler" 

-Woman in pink" "A butterfly" 

"Flowers" "A rose" 

"The piano" "Pandora" 

"A summer day" "Quiet hour" 

"A ray of sunlight" u In the cafe" 

"Peonies" "A little mother" 

"The blue bowl" "Study in black and white" 

"Memories" 

His artistic instinct is decorative, but his portraits of Mrs. Alexander, 
August Rodin, Walt Whitman, Prof. Chandler of Columbia, Mrs. 
Wheaton and others, show he can also master character. 

Armand Dayot, the French critic, says : "From simply caressing the 
canvas, his brush has become penetrating and the pictures he now shows 
us possess — and this we consider the highest praise that can be bestowed 
upon his talent — not only the charm of life but also an intensity of 
thought." 

"He sees, as did Constable, only the beautiful, and the beautiful life is 
normal." 



20 

His mural paintings, "Apotheosis of Pittsburgh" in the Carnegie 
Institute, and "The evolution of the book" in the Library of Congress 
(both represent the glorification of labor) are among the noteworthy 
achievements of this branch of art in America. 

His combination of piquancy of form and piquancy of color is known 
as the "Alexander liquid style." "This liquidity is simply music ex- 
pressed in terms of painting." With Mr. Alexander the real subject is 
a pictorial harmony based on the human form. (Outl. 95:171.) 

"The distinguishing traits of Mr. John W. Alexander as a painter of 
portraits are quality of line, candor of impression and novelty of tone." 
(Harrison S. Morris, Scrib. 25:340.) 

Allston, Washington, b. Waccamaw, S. C, November 5, 1779 ; d. 
Cambridge, Mass., July 9, 1843. At six years of age his favorite amuse- 
ment was making little landscapes about the roots of an old tree near 
his home. In 1800 he graduated from Harvard and in company with 
Edward Green Malbone soon after went to London where through the 
assistance of Benjamin West, who was then president of the Royal 
Academy, he studied at that school. In 1804 he visited Paris and spent 
four years in Rome where he obtained the name of the "American 
Titian." 

His first work of importance, "The dead man revived" gained a prize 
of 200 guineas from the British Institute and was purchased by the 
Pennsylvania Academy of the Fine Arts. This was followed by "St. 
Peter liberated by the angel," "Uriel and the sun," "Jacob's dream" and 
several smaller pictures which are in private galleries in England. 

In 1818 he opened a studio in Boston and spent the remainder of his 
life in his native country. The most choice of his works were done after 
he returned to United States, and are now in Boston. His wonderful 
wealth of color was his great distinction. 

Allston's reputation as a poet and novelist was second only to that 
he enjoyed as a painter. 

AnschutZ; Thomas Pollock, b. Newport, Ky., October 5, 1851. 
Studied art at the National Academy of Design, New York, and at the 
Pennsylvania Academy of the Fine Arts, Philadelphia ; also with Doucet 
and Bouguereau in Paris. Is a member of the faculty of the Pennsyl- 
vania Academy of the Fine Arts and has a summer school at Darby. Pa. 
Has received medals and prizes for his canvas shown in competitive 
exhibitions and is the painter of the popular Sketch Club portraits 
which form the artistic frieze of the club room in Philadelphia. 

Mr. Anschutz paints in pastels, water-color and oils but devotes his 
time mainlv to teaching. (B. & P. 4:277.) 



21 

Armstrong, D. Maitland, Stained glass-designer, b. Newburg, N. Y., 
June 12, 1836. Graduated at Trinity College, Hartford, Conn., 1858; 
practiced law a few years. Studied art in Paris and Rome. Was United 
States Consul to Italy. Director American Art Department, Paris Ex- 
position, 1878. Chevalier of the Legion of Honor of France. Member 
of the Society American Artists, 1879; also of Architectural League. 
Associate member National Academy, 1906. 

Mr. Armstrong is now a professional decorative artist, specializing in 
stained glass work. The round dome of opal and amber glass, also the 
side windows of the court room in the New York Appellate Court build- 
ing are his work, and rank with the best in this line of art produced in 
America. 

Bacher, Otto, Etcher, b. Cleveland, O., March 31, 1856; d. Lawrence 
Park, Bronxville, N. Y., August 16, 1909. Began his career as an art 
student in 1874. In September, 1874, he went abroad and spent some 
time at Munich, from there he went to Venice with Mr. Duveneck and 
his band of pupils. His first experiments in etching were made in 1876, 
and were not successful. He established himself in Europe and again 
took up the work in 1879, this time with success. 

Member of Society of Painter Etchers, London; associate member of 
National Academy, 1906. 

His first etchings were mostly of picturesque German villages and 
bits ; but later works portray the beauties of Venice. 

He has produced a large plate of Milan cathedral ; one of the interior 
of Saint Marks and another of the Grand canal, Venice. 

Mr. Bacher was one of our ablest etchers. Sir Seymour Haden said 
that his series of Venetian etchings evinced a strong artistic feeling 
and was characterized by "bold and painter-like treatment." The Lon- 
don Times speaks of him as "a most formidable rival to Whistler." 

Knaufft says: "Celebrated as an etcher, draws landscape in pen and 
ink that nearly equals his etching, and he is unsurpassed in pen render- 
ings of still life." 

Unlike Mr. Duveneck, he dwells more upon the human than upon the 
architectural elements in the Venetian panorama. His most character- 
istic plates show work people of the sea-city at their labors, show lace- 
makers and bead stringers and washerwomen, either in some dim inter- 
ior or in some sunny courtyard, or under some shadowy archway by the 
water." 

Baer, William J., Miniature painter, b. Cincinnati, O., January 29, 
1860. Pupil of Loefftz in Munich Royal Academy. The history of mini- 
ature-painting of the present generation in this country began with the 
work done in this field by Miss Laura C. Hills and Mr. Willism J. Baer, 



22 

both of whom were inspired by a love of small things, and admiration 
for the paintings of the old masters which is more or less reflected in 
their work. There was a revival of a demand for portraits on ivory and 
in 1899 the American Society of Miniature Painters, was founded. 

In Mr. Baer's "Primavera" he combines many of the best qualities of 
a good oil painting with a luminosity and brilliancy of texture only to 
be achieved on ivory. This and such productions as his "Golden hours" 
will no doubt in time rank with the best work of Malbone. while his 
only rivals in portraiture today are Josephi, Miss Beckington and the 
late Theodora W. Thayer. (I. S. 33 :c.) 

"In his ideal pictures, such as "A girl with a rabbit" he accomplishes 
much of his best work. (Critic 47:522.) 

His flesh tints are exquisite. 

He has chosen to erect a very high standard in miniature painting. 

At a recent exhibition of the American Society of Miniature Painters, 
Mr. Baer showed one large ivory — a full-length female figure, entitled 
"Egeria" painted in richer, heavier colors than is his custom, also four 
small portraits "done in his usual masterly style." The likeness of Mrs. 
William Arrindell Shearson in lavender and white lace revealed his skill 
in exquisite finish and delicacy of touch." (I. S. 43: sup. 20.) 

Baker, Elizabeth Gowdy, b. Xenia, O., 1860. Pupil of the 
Cooper Union, Art Students' League of New York, New York School of 
Art, Pennsylvania Academy of the Fine Arts, Cowles Art School, Bos- 
ton ; under Frederick Freer, William M. Chase and H. Siddons Mow- 
bray. 

Received medal at Cooper Union; is a member of the Boston Art 
Students' Association and Art Workers Club for Women, New York. 

Mrs. Baker's specialty is portraits in water-color. She is especially 
successful with pictures of children. 

In her work she uses a heavy imported paper and claims that her 
method enables her to get the strength of oil with the daintiness of 
water-colors. 

Mrs. Baker rarely exhibits and her portraits are in private homes. 

Baker, Ellen Kendall (Mrs. Harry Thompson), b. Fairfield, N. Y. 
Studied in Paris under Charles Muller, Paul Soyer, and Harry Thomp- 
son, an English artist, whom she married in 1896. 

Mrs. Thompson has exhibited in the Paris salons since 1879, also at 
Munich, St. Petersburg, New York, Philadelphia, Chicago and Detroit, 
and is represented in Buffalo, Detroit and Minneapolis. 

A characteristic painting is "The young artist." 

Baker. Martha Susan, Miniature painter, b. Evansville, Ind., Decern- 



23 

ber 25. 1871. Pupil of the Chicago Art Institute. Won Municipal Art 
League Purchase prize. Art Institute, Chicago, 181)5 ; first prize for 
miniature in the Arche salon Chicago, 1897; bronze medal for miniature 
painting at St. Louis Exposition 1904; silver medal Art Institute, Chi- 
cago, 1905. Eeceived honorable mention for oil painting at the Carne- 
gie Institute, Pittsburgh, 1904. A well-known writer in a review of her 
works, says : "Her subsequent progress has been as steady and brilliant 
as it has been well-deserved."' She is now instructor both in the Art 
Institute and at the Academy of Fine Arts. She was one of the four 
Chicago artists represented at the Paris Exposition in 1900. 

At the 12th annual exhibition of the American Society of Miniature 
Painters, she exhibited a large composition entitled "Springtime" — a 
nude child playing with chrysanthemums on the floor. This showed the 
artist's ability to cope successfully with a difficult subject and also 
retain the fine proportions of her material. Two small heads were also 
exhibited — "Master Gilford Ewing" and "Miss Marion Tooker" painted 
against pure ivory background. Although less ambitious, these minia- 
tures were more representative of Miss Baker's gift for strong penetra- 
tion of character and showed her individual technique. 

She has also done some mural work — decorations in the hall of the 
Fine Arts Building, Chicago. 

A gem in water-colors is her "Lake front — Chicago." 

"Her style is characterized by an almost masculine force and direct- 
ness, a naive obedience to truth and a delightful simplicity. Her knowl- 
edge of form is ably expressed in her unerring draughtmanship." (I. S. 
21:85.) 

Barnard, George Grey, Sculptor, b. Bellefonte, Pa.. May 24, 1863. As 
a youth he developed a taste for natural history; became familiar with 
birds and their habits and, self-taught, attained skill as a taxidermist. 
Apprenticed to a local jeweler, he became a skilled letterer and engraver. 
At the age of sixteen he went to Chicago and entered the Chicago Art 
Institute. With $350 which he was paid for a portrait bust, he went 
to Paris and studied in the Atelier Cavelier. After three years he took 
up a studio at Vaugirard, near the port of Versailles, where in 1885 he 
finished the "Boy" in marble and in 1887 began the "Brotherly love" 
for a Norwegian monument. He began the group called "Two natures" 
(suggested by a line from one of Victor Hugo's poems) in 1890, and put 
it into marble in 1894. That year his work was exhibited in the salon 
of the Champs de Mars and he was immediately elected an associate of 
of the Socie'te Nationale des Beaux Arts. 

The Figaro said: "Mr. Barnard is possessed of very great qualities, 
the first of which is the freshness of eternal youth." 

M. Thiebault-Sisson. art critic of the Temps, said : "We have a new- 



24 

coiner, George Grey Barnard, who possesses all the qualities of a great 
master." 

Mr. Barnard returned to the United States in 1896 and made a public 
display of his works in the Logerot Gardens, New York. His "Pan" 
placed in Central Park, New York, has been pronounced "one of the 
strongest and most original things yet done in sculpture." "The hewer" 
shows not only sculptural "bigness" but "reveals an unusual emphasis 
in the matter of straight lines and planes, which gives it remarkable 
carrying power." The "Rose maiden," a memorial figure, is a work in 
which a new and tender element has entered. "The figure is a poem of 
sweetness and mystery, and grows fragrant with the dew of spring." 

William A. Coffin says: "He is an analyst in thought, and a syn- 
thesist in execution. His work shows decided psychological bent. He 
apparently cares more for force and vitality than for so-called beauty 

The splendid vigor and pure artistic power of his work entitles 

it to be received with enthusiasm." 

His latest triumph is his statues — two groups composed of more 
than thirty heroic figures — for the facade of the Pennsylvania capitol. 

Bartlett, Paul Wayland, Sculptor, b. New Haven, Conn., 1865. As 
a boy modeling in the garden of his home at Marly, France, he attracted 
the attention of the famous sculptor Fremiet who gave him instructions 
in his class in animal sculpture and drawing in the Jardin des Plantes 
in Paris. At the age of fourteen he attained the honor of exhibiting in 
the salon a bust of his grandmother, and a year later he entered the 
Ecole des Beaux Arts. At the age of twenty-two he exhibited in the 
salon his group "The Bohemian bear tamer." He did some remarkable 
things in bronze casting, and a collection of his bronzes was exhibited 
in the salon of 1895 and won for him honors. Later achievements 
occupy places of honor in the United States. In the reading room of the 
Library of Congress are three well-known statues by him — "Law," 
"Columbus" and "Michael Angelo." Of the last mentioned, the editor 
of "The Artist," says : "One of the noblest modern statues in America 

is undoubtedly that of Michael Angelo by Paul Wayland 

Bartlett, in the Library of Congress." 

His "Dying lion" is a work of appealing strength and beauty. His 
statue of General Warren, the early martyr of the revolution, is at 
Roxbury. The "Death of Warren" in low relief on the pedestal, has 
been called "a funeral march in bronze." His equestrian statue of 
Lafayette, which the school children of the United States presented to 
France, stands in the square of the Louvre, "the most coveted site in 
Paris." 

Carries, the French potter-sculptor, says of him: "He reminds me of 



25 

those artesans of the renaissance who had nothing but art in view and 
mind." (New England Magazine 33:369.) 

"Mr. Bartlett is primarily a sculptor of the specific. What he most 
delights in is the presentation of actual characters of history or of 
definite emotions." (Craftsman 16:437.) 

The French have showered upon this American sculptor nearly every 
honor in their gift; he was elected chevalier of the Legion of Honor at 
the age of thirty, since which time his works have been hors concours in 
the Paris salons. 

Baxter, Martha Wheeler, Miniature painter, b. Vermont, 1869. A 
pupil of the Pennsylvania Academy of the Fine Arts and the Art Stu- 
dents' League of New York under Mowbray, Cox, Beckwith and F. V. 
DuMond. Studied miniature painting under Mine, de Billemont- 
Chardon and Mile. Schmitt in Paris and Mme. Behenna in London. 

Keceived honorable mention at the Paris Exhibition of 1900. Is a 
teacher. 

Bayliss, Lillian, Miniature painter. Has received recognition as a 
miniature painter. Her ivory work of Madame Gabrielli displays a 
distinct power of characterization ... As a whole she produces results 
peculiar for a refinement, a simplicity of tone and surface and a dignity 
of the use of color. (Critic 47:527.) 

Beatty, John W., Etcher, b. Pittsburgh, Pa.. July 8, 1851. Director 
of Fine Art, Carnegie Institute, Pittsburgh, since 1896. Student of 
Munich Academy of Fine Arts. Honorary A. M. Western U. of Pennsyl- 
vania, 1900. 

Executed etching "Return to labor." Member jury on painting for 
Pa. and N. Y., Chicago exposition, 1893. Member National Advisory 
Board Paris Ex., 1900. Fine Arts Com. Buffalo, 1901; National Ad- 
visory Com. St. Louis Ex., 1904. Member Pittsburgh Art Soc, Pitts- 
burgh Artists Association. Author : "An appreciation of Augustus 
Saint-Gaudens." 

Beaux, Cecilia, b. Philadelphia, Pa., 1863, and is of French descent. 
Mrs. Thomas A. Janvier gave her her first lessons in drawing; she was 
also a pupil of William Sartain and won general recognition as an able 
portrait painter. The first of her works to bring her fame was "Last 
days of infancy," which was exhibited at the Philadelphia Academy in 
1885, and won the prize for the best painting by a resident woman 
artist; won the same prize in 1887, 1891, 1892. Miss Beaux spent the 
winter of 1889-90 in Paris studying in the life classes of the Academie 
Julien under Bouguereau, Robert-Fleury and Benjamin-Constant; also 



2G 

at Colarossi's where her drawings were criticised by Courtois and 
Dagnan-Bouveret. Spending the summer at Concarneau, she was aided 
by suggestions from Alexander Harrison and Charles Lasar. After a 
visit to Italy and England she returned to Philadelphia. In 1893 she 
won the gold medal of the Philadelphia Art Club for the portrait of 
Dr. Grier; also the Dodge prize of the National Academy of Design for 
her portrait of Mrs. Stetson. Miss Beaux was the seventh woman to 
whom the honor of an election to membership in the Society of Ameri- 
can Artists was awarded. In 1894 she was elected associate of the 
National Academy of Design, being the third woman to gain admission ; 
elected full member in 1902. She is recognized here and abroad as the 
most distinguished of living women painters. 

To the salon of the Champs de Mars, Paris, 1896, she sent six paint- 
ings. These were hung in a group, an unusual distinction and brought 
to her an election as an associate of the Socie'te Nationale des Beaux 
Arts. (Nat. Cy. Am. Biog.) 

Her figures are usually represented in repose or at least in arrested 
action, but "Dorothea and Francesca" shows her power of rendering- 
motions with equal success. Her portrait of Mrs. Roosevelt is one of 
her happiest creations. "The dreamer," "New England woman," "Sita 
and Sarita," "The Cynthia," "Ernesta and her little brother," are all 
portraits. Miss Beaux's portraits are never composite; they are not in 
any sense types. Her individuality is developed in two characteristics : 
brilliancy and refinement. (I. S. 41:337.) 

Giles Edgerton says: "It is not once in a generation that a woman 
so subverts her essentially characteristic outlook on life to her work 
that her art impulse becomes universal as that of the greatest men often 
is. One feels that Cecilia Beaux has done this in her portrait work, as 
George Eliot did in her stories." 

Beckington, Alice, Miniature painter, b. St. Charles, Mo., July 30, 
1868. Pupil of Art Students' League, New York; Lefebvre, Benjamin- 
Constant and Lazar, Paris. 

Received honorable mention Pan-American Ex. Buffalo, 1901; bronze 
medal St. Louis Ex. 1904. Mem. N. Y. Woman's Art Club, also 
American Society Miniature Painters. Instructor at Art Students' 
League, New York. 

Miss Beckington's work reveals a feeling for the impressionistic and 
a charming application of it. The Portrait of Mrs. Buford is the best 
example of her work. 

"She treats her sitters with a clear directness and absence of nonsense, 

selecting and refining her essentials with sanity and taste 

Her portraits increase steadily in naturalness and an unwavering yet 
delicate definition of facial character. (Critic. 47:525.) 



27 

Beckwith, Jambs Carroll, b. Hannibal, Mo., September 23, 1852. 
Studied painting in Chicago where his father was a merchant. Began 
his art studies in 1868 under Walter Shirlaw and in 1873 entered the 
studio of Carolus-Duran, subsequently studying at the Ecole des Beaux 
Arts. Returned to the United States in L878, opened a studio in New 
York and began his profession as a portrait painter. He was at once 
elected an instructor in the Art Students' League. An associate mem- 
ber of the National Academy, 1880; academician, 1894. 

Mr. Beckwith received honorable mention in the Paris Salon of 1887, 
and has painted portraits of many distinguished residents of New York. 
His works are always signed "Carroll Beckwith." 

At the Paris Exhibition in 1878, he exhibited "The falconer" painted 
when he was only twenty-five years old. His portrait of Mrs. R. H. 
McCurdy, shown at the Academy Exhibition of 1879, gave him a definite 
position among the painters of New York; that of Captain Joseph 
Lentilhon, exhibited in the Paris Salon of 1887 and at the Universal 
Exposition of 1889, received awards in both cases. His picture '"The 
authoress" has been called a modern Mona Lisa. In "A baptism at 
Onteora" all the figures are portraits, and the artist and his wife are 
viewing the procession from the shadow of the chimney to the right. 

Mr. Beckwith's skill in figure drawing is shown in the following: 

"La Cigale" "Under the lilacs" 

"The nautilus" "The Christian martyr" 

"Danse antique" "Mother and child" 

"The awakening" "The blacksmith" 

"The falconer" "Judith" 
"Azalia" 

"Mr. Beckwith's work is distinguished by a breadth of style and an 
unerring grace which is rarely met with outside of continental schools." 
(American artists.) 

Bellows, George Wesley, b. Columbus, O.. August 12, 1882. A. B. 
Ohio State University in 1905. Studied in New York School of Art 
under Robert Henri. Exhibited at International Exposition, Venice; 
Royal Academy, Berlin, Royal Society, Munich, Kensington Museum, 
London, and in principal cities of United States. Elected an associate 
member of the National Academy in 1908. 

Mr. Bellows is one of the modern Impressionists. He shows a liking 
for the sharp contrasts of snow and water, snow and houses and snow 
and distant hills. 

Critics compare this snowscapist to the old painters of Holland. 

His "Polo game" and "Footdjall game" are extraordinary examples 
of action in art— full of strength and power as well as action. 



2S 



"Blackwell's bridge" is a well-known painting of his. 



Benson, Frank Weston, b. Salem, Mass., March 24, 1862. Studied 
art at the Boston Museum of Fine Arts, also under Boulanger and 
Lefebvre in Paris. He has been the recipient of a remarkable number 
of artistic distinctions, the chief significance of which is that they have 
been awarded by the artistic profession. Is a member of "Ten Ameri- 
can Painters." Since 1892 he has been instructor in drawing in the 
Boston Museum of Fine Arts. Was elected to full membership in the 
National Academy in 1905. His list of honors and prizes received is a 
long one. He has also won distinction by his sympathetic and under- 
standing interpretation of child life. 

Open-air work is the most familiar side of Benson's art, and figure 
subjects in the open air have made him a student of the sea as well as 
landscape, and especially of both viewed under the effect of sunlight. 

••Against the sky," which Mr. Benson considers one of the best things 
that he has ever done, like "Eleanor," has the quality of freedom for 
which the "Ten" seceded. His "Moonlight at sea" has all the beauty of 
romance and technique. "Summer" is one of his most successful decora- 
tive paintings. 

A few of his representative canvasses are: 



"Orpheus" 

"Winter storm" 
"Girl with veil" 
"Portrait of three sisters" 
"In an old garden" 
"Woman reading" 
"The hill top" 
"Summer afternoon" 



"My little girl" 

"Lamplight" 

"Girl with black hat" 

"Calm morning" 

"Girl playing solitaire" 

"In the spruce trees" 

"Portrait in white" (his wife.) 



"The note of Frank Weston Benson's work in painting is a sustained 
and spontaneous gaiety, which is expressed through beautifully cheerful 
color, in a style combining animation with refinement. He sets before 
us visions of the free life in the open air, with figures of gracious women 
and lovely children, in a landscape drenched in sweet sunlight and 
cooled by refreshing sea breezes. The purity and charm of the sentiment 
match the purity and charm of the color." (Arts and Decorations, Mar. 
1911.) 

Mr. Benson's paintings (apart from his portraits) have much shim- 
mering color and radiance of light, a subtle effect of seeking the decora- 
tive in nature herself." (I. S. 35 :xcix.) 

His paintings of women have something of the sweetness of the old- 
fashioned ideals of high-bred feminine grace and loveliness, with the 



29 

breadth and looseness of the modern style of workmanship. His pic- 
tures have the refinement of the 18th century English female types with 
the freedom and vivacity of the 19th century American girl." (B. & P. 
6:145.) 

Mr. Benson has also done mural painting. "The graces" and "The 
seasons" in the Library of Congress, being his work. 

Bierstadt, Albert, b. Dtisseldorf , Germany, January 7. 1830 ; d. New 
York, February 18, 1902. 

When one year old he was taken to New Bedford where his youth was 
spent. At twenty-four he returned to his native town in Germany and 
studied art under Liessing for four years, and in Rome for one year, 
making summer sketching tours to Switzerland. He returned to the 
United States in 1859 but made frequent trips to Europe. In 1857 ac- 
companied General F. W. Lander's expedition to the Rocky Mountains 
and collected material for his most important pictures. 

"Settlement of California by the Spanish priest, Father Juniper* > 
Serra" and "The discovery of the Hudson river" in the Capitol at Wash 
ington, "View on the Kern river" and "Sunset among the Sierra Nevada 
mountains" at the Hermitage, St. Petersburg, "Great trees of Cali- 
fornia" in the Imperial palace, Berlin, "Estes Park" owned by the earl 
of Dunraven, "Laramie Peak" in the Academy of Fine Arts, Buffalo, 
and "A mountain peak" in the Corcoran gallery at Washington, are 
among some of his best known works. 

Tuckerman says : "No more genuine and grand American work has 
been produced than Bierstadt's "Rocky mountains." 

Medals were awarded to him in Austria, Germany, Bavaria and Bel- 
gium. He was made a chevalier of the Legion of Honor of France, 
received the order of St. Stanislaus of Russia and the Imperial order 
of the Madjidi from the sultan of Turkey. Elected member of the 
National Academy of Design, 1860. 

Birch, Reginald Bathurst, Illustrator, b. London, England, May 2, 
1856 ; came to the United States at the age of sixteen ; later studied art 
in Munich and Italy. Has drawn much with the pen, mostly for "St. 
Nicholas." He may, indeed be called the "Children's Gibson." Illus- 
trated "Little Lord Fauntleroy," "Lady Jane," and "The story of Betty." 

Is the illustrator par excellence for children's stories and fairy tales. 
His line is graceful and his use of blacks exceedingly skilful. 

Bisbing, H. Singleton, b. Philadelphia, Pa., January 31, 1849. Began 
his artistic career by studying wood-engraving. In 1872 he was em- 
ployed on Appleton's Art Journal. He entered upon a course of study 
under Profs. Barth and Loefftz at Munich in 1876 and three years later 



30 

became a pupil of J. H. L. deHaas, the celebrated animal painter of 
Brussels. In 1884 he removed to Paris where he continued his studies 
under Felix du Vuillefroy, also a noted animal painter. 

His pictures, mostly animal subjects, have been exhibited at the Paris 
salon. 

Received third-class medal at Paris salon in 1891 ; Temple gold medal 
at the exhibition of Pennsylvania Academy of Fine Arts in 1892. Was 
made a chevalier of the Legion of Honor of France in 1902. 

Works are in Pennsylvania Academy of the Fine Arts, Philadelphia, 
Berlin National Gallery, in private collection of royal family of Saxony. 
Mr. Bisbing is a member of the Paris Society of American Painters and 
his paintings are hors concours at the Paris Salon. 

"Bisbing paints large landscapes, saturated by light and air, with 
cows somnolently resting in the sun." (Miither.) 

Bitter, Karl Theodore, b. Vienna, Austria, December 6, 1807. 
Studied art in the Vienna Academy of Fine Arts. From the age of six- 
teen he made efforts to come to America but did not receive the consent 
of his parents until 1889 when he sailed for New York. The first year 
in New York, unknown and practically friendless, he won in competition 
the order for one of the Astor memorial gates, of Trinity Church. 

Mr. Bitter was connected with the Columbian Exposition as a decor- 
ator and with the Pan-American and St. Louis expositions as official 
director of sculpture. 

Of his "Standard bearers" in heroic size (a personal contribution to 
the Pan-American Exposition), Lorado Taft says: "They were the finest 
things ever devised for any exposition." His "Villard memorial" and 
"Hubbard memorial" "are beautifully modeled and have about them an 
atmosphere of poetic gravity quite unfamiliar in Mr. Bitter's sculpture." 
His bust of Dr. Pepper, provost of the University of Pennsylvania, is 
a gratifying success and shows beyond its admirable workmanship a 
subtle union of kindliness and reserve which makes it a convincing ex- 
pression of individuality." 

Among Mr. Bitter's works are many figures and figure reliefs for the 
residences of the Vanderbilts, C. P. Huntington, John Jacob Astor and 
others. More numerous are his decorations for public buildings, li- 
braries, churches, stores, etc. Notable are the enormous reliefs for the 
Broad street station of the Pennsylvania Railroad at Philadelphia. His 
groups of children are happy ideas for small fountains. 

Elected an associate member of the National Academy of Design, New 
York, in 1902; academician, 1903. Member of the National Sculpture 
Society, New York Arch. League and Society of American Artists. 

Blakelock, Ralph Albert, b. New York, October 15, 1847. The son 



31 

of a physician he was educated with a view to adopting his father's pro- 
fession bnt he was naturally gifted in the line of music and painting 
and the science and practice of medicine did not attract him. Renounc- 
ing the career of a physician and resolving to take up the profession 
of painting, with no art training whatever, without guidance or assist- 
ance, he opened a studio in New York. The story of his life is a pitiful 
one — one of the saddest in the history of American art. The hardships 
and privations which he endured unsettled his mind and he was con- 
fined in an insane asylum for several years. 

An exhibition of his paintings was held in New York in 1902, since 
which time public appreciation has been more just. 

Characteristic examples of his work are : 

"Moonrise" "October sunshine" 

"At nature's mirror" "Redwoods, California" 

"Solitude" "Indian girl, Uinta tribe" 

"Sunset, Nevarra Ridge" "Navajo blanket makers" 

"The mountain brook" "Indian fisherman" 

"Sunset off the coast" "Bannoch wigwam in peaceful 

"Sunset through the wood" vale" 

"Morning" "The captive" 

"Moonlight" "The canoe builder" 

"Cool wooded shades" "Abode of the stately 0661'" 

"The oak tree" "Story of the buffalo hunt" 

"Blakelock's canvases are little less than a revelation of his wide 
range of expression and of his varying moods .... They include 
peaceful and poetical pastorals, sunsets glowing even to the point of 
the garish, moonlight suffused with a bewitching silvery sheen, land- 
scapes in which there is no suggestion of human life, Indian groups for 
which the landscape serves but as a setting . . . The canvases convey 
the impression of a strong poetic temperament dominated with a moodi- 
ness which struggles with and finally extinguishes free, glad, artistic- 
expression. 

"He was essentially a colorist, and the peculiar charm of his work 
lies in the fact that he had the audacity to attempt and the ability to 
obtain tonal effects that at once stamped his canvases as remarkable 

It has been said of him that he stands quite alone among 

American artists as an original creative genius whose endowment was 
unusually artistic and whose sense of the beautiful was peculiarly 
acute." (B. & P. 9:257.) 

Blashfield, Edwin How land, b. New York, December 15, 1848. Was 
educated in Boston Latin School. Studied in Paris, 1867, under Leon 
Bonnat, also received advice from Gerome and Chapu. Exhibited at the 



32 

Paris salon 1874-9, 1881, 1891, 1892; also several years at Royal 
Academy, London. Returned to the United States 1881. A member of 
the National Academy of Design, New York, since 1888. President 
National Society of Mural Painters. Has exhibited genre pictures, por- 
traits and decorations and lectured on art at Columbia, Harvard and 
Yale and in prominent cities of the United States, his lecture of "Muni- 
cipal art" being regarded one of the best lectures on art ever given in 
this country. 

In collaboration with his wife he prepared numerous illustrated arti- 
cles for Scribner, Century and other leading magazines on subjects 
connected with mediaeval or renaissance art, or noted places of the old 
world. Among the most noteworthy and interesting of these may be 
mentioned : "With Romola in Florence," "The man at arms," "Castle 
life," "A day with a Florentine artist of the 15th century," "Ravenna 
and its mosaics," "The Paris of the musketeers," "Afloat on the Nile." 

Most notable of his paintings are: 

"Christmas bells" "All souls day" 

"The choir boys" "Inspiration" 

"The angel of the flaming sword" "Young poet" 

"Spring time" "Toreador" 

Mr. Blashfield's strength lies in decorative painting in which his 
drawing is as elegant as his color is fragile in tone. His best mural 
work is seen in the Library of Congress, Washington; Court House, 
Baltimore, Minnesota and Iowa state houses. 

"In his art he demonstrates his understanding of drawing, elevated 
without losing strength, of refined felicitous light, of controling unified 
tone, of the grace, sweetness and reticence in simple gesture and of the 
power in an organized whole." (I. S. 35 :lxix. I. S. 43:liii.) 

Blum, Robert Frederick, b. Cincinnati, O., July 9, 1857; d. New 
York, June 8, 1903. Was apprenticed in lithographing shop in 1871 and 
attended night classes at McMicken Art School of Design, Cincinnati. 
Studied nine' months at the Pennsylvania Academy of the Fine Arts, 
Philadelphia. Went to New York in 1879. Made trips to Europe during 
the years 1880-89. In 1890 he accompanied Sir Edwin Arnold to Japan 
in order to illustrate his "Japonica." 

His "Lace makers" won a medal at the Paris Exposition in 1889; 
"Bead stringers" occasioned his election as an associate of the National 
Academy, and the exhibition of his "Ameya" ("Itinerant candy ven- 
der") brought him into full membership of the academy in 1893. At 
his election he was the youngest member of the association. 

Upon his return from Japan in 1892, after completing his Japanese 



33 

drawings and paintings, he took up mural decoration and reached the 
highest perfection of art in the magnificent decorations in Mendelssohn 
Hall, New York, illustrating the "Moods of music.'' 

The charm of Blum's pictures lies in the execution rather than in the 
subjects which are chosen from every land except America. His ''Itin- 
erant candy vender" in the Metropolitan Museum of New York is full 
of color, with exactitude of line and a charming sense of foreign parts. 
(Isham.) 

His pen drawings of Venice, dated 1880, have, in all the progress of 
that special art, never been excelled. 

"He paints Japanese street scenes full of sunlight and lustrous color."' 
(Muther.) 

A few Japanese pictures are : 

"Flower market, Tokio" "Musee-nigliT" 

"The geisha" "Siesta" 

"Cherry blossoms" "The terrace" 
"The bath" 

While Mr. Blum's reputation as an illustrator and etcher was well 
established, it is probable that he will be longest remembered by his 
work as a colorist. 

BoGBRT, George, b. New York, 1864. Pupil of National Academy, also 
of Puvis de Chavannes, Ainie Morot and E. Boudin, Paris. Received 
honorable mention at the Pennsylvania Academy of the Fine Arts, 1892; 
Webb prize, Society American Artists, 1898 ; first Hallgarten prize Na- 
tional Academy, 1899. Associate member of National Academy of De- 
sign. 1899. 

"October moonlight" is much admired, as is also "Approach of even- 
ing, Venice," ablaze with the vibrating colors of the sky at sunset. 

"He has done a great amount of work, much varied not only in sub 
ject — landscapes, marines, views of cities chosen from all over the world 
— but also in handling and in color scheme." ( Isham.) 

His work is largely reminiscent, the works of Constable, Diaz, .Maris, 
being reflected in his canvases; but his two most interesting canvases. 
"Approaching storm" and "Day after the storm" are strong works and 
derived evidently from independent study and a personal outlook. (The 
Artist, 24:lxi.) 

"His technique is strong, and if his ideals were simpler and more 
direct, his art could be enthusiastically admired. He has force, dra- 
matic quality, and knows how to put a picture together." ( B. & P. 4 : 
125.) 

5 



34 

"Eventide" "Rainbow at sea" 

"The last rays" "Summer morning - , Manomet" 

"Chateau Gaillard, moonrise" 

Borglum, John Gutzon Mothe. Sculptor, b. California. March 25, 
1867. Pupil of San Francisco Art Association and Academie Julien in 
Paris. Is a member of the Royal Society of British Artists and Soeie/te 
Nationale des Beaux Arts, Paris. 

As a lad in a western Jesuit college he carved crucifixes on his slates 
and copied in his books reproductions of pictures by the old masters. 

After studying in Paris and spending a year in Spain he returned 
to the United States but in 1896 w r ent to London and remained there 
until 1901; settled in New York in 1902. 

His earlier works in sculpture were western in subject — "Indian 
scouts," "Death of a chief," "Apaches pursued by U. S. troops." Later 
works are "The seer," "The Boer," "Remorse." gargoyles for dormitory 
building at Princeton, bronze statuette of John Ruskin and portrait bust 
of Lincoln. Of this bust of Lincoln a writer on works of art says : "In 
profound insight into character and in subtleness of portrayal, Gutzon 
Borglum's "Head of Lincoln" must be accounted among the greatest 
achievements in portrait sculpture that have been made by any Ameri- 
can artist." (Craftsman 14:26.) 

The masterly rendering of "The mares of Diomedes" places this group 
among the great works of art. Here he has given movement — the fury 
of high-strung steeds. 

In 1898 he was commissioned to make the decorations for the Queen's 
Hotel at Leeds and chose for his subject the story of "Pan." Here his 
real personality showed itself and his special genius came into play. 

In his New York studio he painted a series of mural decorations for 
the Midland Hotel Concert Hall at Manchester, England — 'Subject : 
"The coming of Guinevere," also painted twelve panels illustrating "Mid- 
summer night's dream" for a private residence in New York. 

His statuette of John Ruskin evinces that broad thought with which 
he approaches his subject. 

In writing of the art of the Metropolitan Museum of New York 
(where are his "Mares of Diomedes" and the bronze statuette of 
Ruskin) David C. Preyer says: "Nothing could be in more striking 
contrast — the mad stampede of the tumbling mass of horses and the 
quiet dignified repose of the writer and thinker." 

A contributor to the International Studio says: "A certain impres- 
sionistic tendency shows itself in Mr. Borglum's recent work." 

His works are so varied and bis manner so versatile that classification 
and general exposition is almost out of the question. 



35 

"The reason for building any work of art," he says : "can only be for 
the purpose of fixing in some desirable form a great emotion, or a great 
idea, of the individual or the people." 

Borglum, Solon Hannibal, Sculptor, b. Ogden, Utah, December 22, 
1868. Was reared among the frontiersmen in a typical prairie town and 
worked on a stock ranch while young. In 1893 he decided to give up 
ranch life and to study art; became a student in the Cincinnati Art 
School and studied under Louis Rebisso and Fremiet in Paris. Asso- 
ciate member of National Academy of Design, 1911. 

When he went to Cincinnati he obtained admission to the U. S. 
stables and began to model his first group which, when exhibited in the 
annual school exhibit, won him a special prize of $50, and during his 
second year at the art school he won the prize of a scholarship. In 
Paris his groups were accepted by the salon and he received encourag- 
ing words of approval from Fremiet, the French sculptor. 

His group called, "Lassoeing wild horses" was his first exhibit in 
the Paris salon; "Stampede of wild horses" was next, and "The lame 
horse" brought him honorable mention. Returning to the United States 
in 1900, he made a special study of western life, living among cow-boys 
and Indians. 

"In such works as "The last round-up," "Our slave" and "On the bor- 
der of white man's land," Mr. Borglum has hit upon a very large and im- 
pressive treatment which is distinctly sculptural in its inspiration ; 
while in the tiny "Burial on the plains" there is a mysterious emotional 
note which has been touched by few indeed of our sculptors, a sentiment 
that might easily have been dissipated by a more insistent technic." 
(Taft's "History of American sculpture.") 

"There is that in his work which challenges the shams and insinceri- 
ties of our drawing rooms and which makes the money-getting occupa- 
tion of our trammeled lives seem suddenly trite. His art is not the 
expression of his personality, but of that part of the universe by which 
he was environed and is therefore as untrammeled as nature." 

"He stands pre-eminently as a sculptor of American life in one of its 
distinctive phases .... His groups embody in marble and bronze the 
free primitive life of the great west." (Craftsman 12:382.) 

Breuer, Henry Joseph, b. Philadelphia, Pa., August 18, 1860. Began 
his art studies in Buffalo, N. Y. Was a Rookwood pottery decorator in 
Cincinnati, 1880-2; lithographic designer, 1882-4; mural decorator, 
New York, 1881-8; illustrator San Francisco Chronicle, 1890-2; art edi- 
tor California magazine, 1892-3; landscape painter since 1893. Is a 
member of the Society of American Artists of Paris. Studied in Paris 



36 

where he came under the influence of the Barbizon school and was 
especially impressed by Corot. 

"As an aid to development along individual and original lines he has 
spent many years in California where the "atmosphere" is individual- 
istic in all activities, and he was there isolated to an extent from the 
"schools" and of necessity studied nature more than art." 

"Having a splendid eye for detail, he applies it in a creative imagina- 
tion evidenced in his synthetic method, which gives a balance and sense 
of completeness to his compositions." (I. S. 39 :xlix.) 

He was commissioned to paint pictures of the Arroyo Seco of the San 
Gabriel Valley for the St. Louis Exposition in 1904. 

( liaracteristic works are : 
"Yosemite valley" 
"A California sunset" 
"Mt. Brewer in the Sierras" 

Brilnjmax, Frederic Arthur, b. Tuskegee, Ala., November 10, 1817. 
Was apprentice in the engraving department of the American Bank 
Note Company, New York, 1864-5. Studied in Brooklyn Art School and 
National Academy New York and was a pupil of Gerome and at the 
Ecole des Beaux Arts, Paris, 1866-71. Since then he has had a studio 
in Paris, occasionally visiting New York. A member of the National 
Academy since 1881. 

Mr. Bridgman has a well-established reputation for his Oriental and 
archaeological pictures. He paints almost exclusively scenes from 
Algiers. The first picture by which he became widely known was "The 
burial of the mummy." This won for him the decoration of the Legion 
of Honor. Of this picture the severe critic of the Taris Figaro said : 
"Gerome himself might have signed it, so high is the merit." This 
painting with "The pastime of an Assyrian king" and "The procession 
of the sacred bull Apis" are his chief pictures. 

He has made special study of Algiers, Egypt and Nubia and the Nile, 
and is regarded as the authorized painter of the south shore of the 
Mediterranean. In 1881 he brought together in all 330 pictures of the 
East al an exhibition in New York. His favorite studies are curious 
mixtures of Arab camel drivers, French zouaves and cosmopolitan tour- 
ists. These pictures belong to what is called Mr. Bridgman's salon 
manner. 

"White draperies, dark skin tints, shining marble and keen blue at- 
mosphere, ethnographical accuracy and a taste for anecdote are the 
leading characteristics of his pictures." (Muther's "History of modern 
painting.) 

Some of his Brittany studies, chiefly landscapes, are more interesting 



37 

—they possess a different quality. The effects of light are subdued and 
very delicate. (The Artist, 29:138.) 

His works are now hors concours in the Paris Salon. 

Well-known paintings are: 

"Up early" "Girls in the way" 

"Apollo bearing off Cyrene" "Interior of the harem" 

"Illusions of high life" "Bringing in the corn" 

"The American circus in Paris" "A Moorish interior" 

"In the Pyrenees" "Tete-a-tete in Cairo" 

"Chapel noon" "Bay of Dinard, moonlight" 

"Greek girls on the seashore" "Hour of reverie" 

"The morning bath" "In the silence of the evening" 

"Lady of Cairo visiting" 

Brown, George Loring, Etcher, b. Boston, Mass., February 2, 1814; 
d. Maiden, Mass., June 25, 1889. At the age of twelve he was appren- 
ticed to Alonzo Hartwell, an artist, to learn the art of wood-engraving; 
when sixteen he went to Europe with money earned by painting and 
through the influence and assistance of John Cheney, an American en- 
graver living in London, he was enabled to study in Paris, enduring 
many hardships, however. Two years later he returned to Boston, 
opened a studio and worked with Washington Allston. In 1840 he went 
to Paris again and studied under Isabey, then took up his residence in 
Rome where his brilliant and poetical pictures found ready sale. 

Among his famous paintings are: 

"Doge's palace and Grand canal" "Bay of Naples" 

"Doge's palace at sunrise" "Fountain of Trevi" 

"Palermo" "Niagara by moonlight" 
"Atranti" 

The Art Museum in Rome owns his "Moonlight scene" (a prize pic- 
ture) and the late King Edward VII bought his "Crown of New Eng- 
land" when, as the Prince of Wales, he visited the United States. 

Art Journal. May 1875: "Brown's Sunset, Genoa," is one of those 
gorgeous idealized, hazy Italian scenes for which this artist is so much 
noted, in the vein of Turner." 

His etchings executed in Rome are much freer in handling and more 
suggestive in color than are those of John Gadsby Chapman. 

Browne, George Elmer, b. Gloucester, Mass., May <», 1871. Studied 
at Museum of Fine Arts and at Cowles Art School, Boston, and Acad- 
emie Julien, Paris. Has exhibited in Paris salon and been represented 
at nearly all prominent American exhibitions. Received medal at the 



38 

Charitable Mechanics Association, Boston, 1895, and the Inness Jr. 
prize, Salmagundi Club, New York, 1901. 

His painting- entitled ''Selling bait at Cape Cod," exhibited in the 
Paris salon 1904, was purchased by the French government. 

Popular paintings are: 

"Fishing boats at Boulogne-sur- "On the beach at Scheveningen" 

mer" "The old gate at Moret" 

"A peasant's cottage" "The wain team" 
"Storing the grain" 

Many of his best subjects have been the depicting of city life and 
scenery along the water front and streets of New York, also life and 
scenery along the Seine, from the Parisian boulevards, from the banks 
of the Thames and the canals of Holland. 

The eminent art critic, W. Lewis Fraser, in Brush and Pencil, Vol. 
14:107 says: "The charm of his pictures is the tender elusivenees of 
their somewhat somber airtones." 

Correctness of line enables him to express unmistakably what he 
wants to say. 

Brush, George de Forest, b. Shelby ville, Tenn., September 28, 1855. 
Pupil of Geroine. Received first Hallgarten prize of the National 
Academy of Design, New York, 1888 ; Temple gold medal of the Pennsyl- 
vania Academy of the Fine Arts, 1897; gold medal at the Paris Expo- 
sition, 1900; Saltus medal of the National Academy of Design, New 
York, 1909. A member of the academy since 1901. 

Began as a genre painter of Indians and in his story-telling pictures 
of Indians he represents the most poetical treatment of the subject that 
has yet been achieved. Best examples are, "Silence broken," "Mourning 
her brave," "The Indian hunter," "The Indian and the lily." For a 
number of years he has confined himself to one subject — the modern 
madonna, his wife and children serving as his models. His "Madonna" 
in the Corcoran Gallery of Art, Washington, is one of his strongest 
works. "In the garden" and "The family" are more pictorial. 

Technically Brush's work does not attract, but intellectually it is full 
of beauty. (B. & P. 11.) 

"His drawing is strong and distingue and his figures are interpreted 
with truth of expression." (Hartmann.) 

Another critic says: "He has not yet solved the mysterious affinity 
between certain colors and certain emotions." 

Kenyon Cox says: "George deForest Brush is one of the few painters 
outside the ranks of the mural decorators who concerns himself primar- 
ily with line and a severe conception of form. He has often fine color, 



39 

also iu a restrained key, and always a profound feeling for character 
and for the beauty of childhood. In its composition of long flowing 
lines, its firm clean drawing, its subtle modeling and above all in the 
beautifully expressive heads and the radiant charm of blond infancy, 
his "In the garden" is worthy of one of those fifteenth-century Floren- 
tines with whom Mr. Brush has much more affinity than with the aver- 
age painter." 

"In his "Madonna pictures" he shows the pathos of motherly love." 

Cadwalader-Guild, Emma Marie, Sculptor, was born in New Eng- 
land but most of her work has been done in England and Germany, and 
is better known there than here. 

Ambassador White after seeing her work in Germany urged her to 
return to the United States and make a bust of President McKinley. 
Through correspondence, sittings were agreed upon; she came but they 
were not given ; she then modeled the bust from prints. Mr. Hanna 
entered a bill in Congress for the purchase of the bust, so pleased was 
he with it, and it is now in the president's room of the Capitol at Wash- 
ington. 

Mrs. Guild has also made a striking bust of Lincoln. John Hay said 
of it : "The power of the head is remarkable. It is a great expression 
of the personality of the man." 

Her two busts of Gladstone — one in bronze, one in marble, are the 
only ones for which Mr. Gladstone gave sittings. 

When her bust of George Frederick Watts was completed he said : 
"When I look at that bust I can understand how that man could have 
painted that picture" (pointing to one of his own.) 

Mrs. Guild numbers royalty among her distinguished patrons. 

Her idealistic heads and statues are as remarkable as her portraits. 
Of her "Lotos," the German Times says : "This psychic masterpiece 
stamps Mrs. Guild unequivocally as an artist of the very first rank." 
A bronze statuette called "Freed" has been exhibited in the Paris salon, 
at the Royal Academy, London, and at Munich. Her "Head of St. 
Monica, the mother of St. Augustine" is a charming study. The Ger- 
man government purchased her "Electron" and placed it in the Post- 
museum at Berlin. The pose of her "Endymion" is not to be found in 
either modern or ancient sculpture. 

"Mrs. Guild is careful in her anatomical study but works without 
model; and her results strengthen the suspicion that in poses involving 
a representation of movement, however slight, the appearance of a 
stationary model is false in detail to the exact appearance in motion." 

"Mrs. Guild is a painter as well as sculptor and known abroad as one 
of superior merit." (Cur. Lit. 40:42; I. S. 27: sup. 44.) 



40 

Caklskx, Emil. b. Copenhagen, Denmark, October 1!). 1853. Was edu- 
cated in his native city and came to the United States in 1872. He has 
what the late Prank Fowler has described as a kind of specialized 
vision, very charming and very hue. Coming from Denmark he brought 
with him the old Vikings love of the great waters. His poetic interpre- 
tation «>f their beauty has met with universal recognition. Medals and 
prizes have been awarded him in many exhibitions and he was elected 
a member of the National Academy in 1900. 

"He contents himself with quiet middle tones, never forcing his gamut 
to extremes of light or shades, but his surfaces are lovely, his paintings 
invariably mature." (I. S. 30:10.) 

"His landscape work was the quality of his still-life studies of game 
or fish; broad unbroken masses of color strongly relieved against each 
other, whether sunlit trees against a deep blue sky or a white swan 
against a dead wall, the contrast not being relied on alone for the 
effect, — but the color being made as absolutely true as in his vigorous 
works." 1 1 sham.) 

Admired paintings are : 

"The quiet sea" "Wild swan" 

"Meeting of the seas" "May morning" 

"The open sea" "The panel" 

Kenyon Cox says: "Beauty is his aim, and the facts and the force 
of nature are both subordinated to decoration. In the "Open sea" it is 
the exquisitely varied blues and grays of sky and water that have 
charmed him, while in his "Surf" it is not crash and roar that we are 
made to feel, but the bold pattern of black and white and blue." 

Carpenter, Francis Bickweld, b. Homer, X. Y., August G, 1830; d. 
New York, May 23, 1900. He was a pupil of Sanford Thayer at Syra- 
cuse, X. Y. Won much fame as a painter and also possessed much 
literary ability. 

His painting "Arbitration," representing the signing of the treaty of 
Washington, was accepted by Queen Victoria and hung in her private 
collection. His portrait of President Fillmore was purchased by the 
city of New York and hangs in the City Hall. "First reading of the 
Emancipation proclamation before the cabinet" now hangs on the stair- 
wily of the House of Representatives, Washington. 

Mr. Carpenter was elected associate member of the National Academy 
in 1852, 

Cassatt, Mary — "Painter of childhood" — b. Pittsburgh, Pa., 1855. 
Her first studies in art were at the Pennsylvania Academy of the Fine 



41 

Arts, Philadelphia. After traveling- extensively in Spain, Italy and 
Holland she settled in Paris, and Degas, convinced of her ability and 
sincerity, consented to take her as a pupil and for fifteen years she 
studied and worked with him. achieving in time a position not far below 
his own. 

At various intervals. Miss Cassatt has devoted herself to painting in 
oils and pastels, to color-etching, dry point and even lithography. While 
her range of expression is wide, her choice of motive is restricted. For 
the most part she transcribes the intimate relationship of mother and 
child. She always avoids a sentimental version of child life. "Beauty 
is there, but not a sugary, waxen beauty." 

Among her most characteristic works are : 

"The toilet" 

"Women and child" Earlier works are : 

"The caress" 

"Baby arises" "At the French theater" 

"The cup of tea" "After the bullfight" 

"The reading lesson" "Music lesson" 

"Children playing with a cat" "On the balcony" 

"Mother and child" 

Miss Cassatt. a follower of the School of Manet, sends her canvases 
to the Impressionists' exhibitions in Paris, but she refuses to exhibit in 
the salons, and in her indifference to their applause she stands alone. 
All other Parisian American artists have regularly displayed their 
works in the great competitive exhibitions. Miss Cassatt is a member 
of the Legion of Honor of France, and her work takes rank beside 
that of the foremost modern masters. 

"Her work is resolute, thoughtful and lucid. Much of her master's 
strength of line is there, and much also of his solemn, almost classic 
restraint. Miss Cassatt has never faltered in her allegiance to the 
tenets of Impressionists." (I. S. 27 :sup. 1.) 

"She has succeeded in creating a new style and lending to prose and 
realism a decorative quality best displayed in her colored etchings. In 
sheer force and breadth of view few men artists could rival her "Mother 
and child" pictures." (Hartmann.) 

Perception of and sympathy for the wonderfully intimate relation 
existing between mother and child are the qualities which stand out 
prominently in the work of Miss ('assail. (Elizabeth Anna Semple.) 

Chief distinction of Miss Cassatt's art is closeness of interpretation 
united to the impressionist's care for the transitory aspect of things. 
(Elizabeth Luther Cary.) 



42 

"The secret of compressed statement is hers, of condensed significance. 
(Frank Weitenkampf.) 

Champney, James Wells, b. Boston, Mass., July 16, 1843; d. New 
York, May 1, 1903. Began his art education with a wood engraver in 
Boston. Studied in Europe under Edouard Frere, Paris, and at Ant- 
werp under Van Lerius, 1868-9. In 1882 he was made associate member 
of National Academy. Was an exhibitor of oil paintings at the Cen- 
tennial Exposition, 1876, and of pastels at World's Columbian Exposi- 
tion, 1893. 

On account of the number of Boston artists bearing his surname, he 
signed his early pictures "Champ," but later gave his full name. 

Early and popular pictures: 

"Not as ugly as he looks" "The best scholar" 

"Boy shelling peas" "Which is umpire" 

"Hearts and diamonds" "Grandma's pet" 

"The sear leaf" "Don't touch" 

"Your good health" "Children roasting apples" 

"Speak, sir" 

The most successful paintings are genre subjects, quiet and simple in 
their nature. 

During the last few years of his life, Mr. Champney made a specialty 
of pastel pictures and achieved remarkable success in this branch of 
art. 

A few of his later pictures are: 

"The squire's daughter" "The flower of New England" 

"Ophelia" -Sylvia" 

"Indian summer" "Mignon" 

"A song without words" "Little Mistress Dorothy" 

"The best scholar" 

Chandler, George W., Etcher, b. Milwaukee, Wis. Early evinced 
artistic tendencies and was employed as an illustrator on the New York 
daily papers. After some foreign travel, entered the Academie Julien, 
Paris in the classes of Jean Paul Laurens. In 1908 received honorable 
mention at the salon. 

India forms the setting for some of his finest plates : 

"The minarets, Benares" "The burning ghats, Benares" 

Parisian scenes : 

"Les travaux du Melro" "Le dejeuner" 

"Dans 1' Avenue de Saxe" "Aux bords de la Seine" 



43 

Evidence of his versatility, as well as his understanding of pastoral 
beauties may be found in "Le Moulin Moret," "The old lock" "Cour de 
Cerf" and "Cour a pont l'Arche"; "Le portail de St. Maclou, Rouen," 
is an expression of sombre beauty. 

"He gives us not only the lacy fretwork of the vaulted doorway, but 
we enter with him into the shadow of a dim interior, heavy with the 
incense of a by-gone age." (Marie Bruette.) 

Chapman, John Gadsby, Etcher, b. Alexandria, Va., December 8, 
1808; d. Brooklyn, N. Y., July 6, 1890. One of the most important of 
the early etchers in the United States, made his first attempt at etching 
in 1843 ; etched in Rome from 1852 to 1857, where he studied art. First 
became known as an etcher in New York City where he did much good 
work for Harper & Bros. 

His versatility was remarkable — portraits, landscapes, engraving and 
etching being alike within the compass of his ability. For fifty-three 
years he was a member of the National Academy of Design. 

His "Baptism of Pocahontas" in the rotunda of the Capitol at Wash- 
ington, is the painting by which he is best known. 

Mr. Chapman was the first American to write on etching. 

Chase, William Merritt — "The painter of precept" — b. Franklin, 
Ind., November 1, 1849. At the age of nineteen began the study of art 
in Indianapolis; also studied in New York, later in the Munich Royal 
Academy and afterwards had Alexander Wagner for a teacher; also 
was a pupil of Karl von Piloty. He refused a professorship in the 
Munich Royal Academy and returned to America. In 1885 he was 
elected president of the Society of American Artists and reelected every 
year thereafter for ten years. After conducting winter classes at the 
Art Students' League for eighteen years, in 1897 he organized a distinct 
school of his own known as the "Chase School of Art." • Aside from his 
work in New York, he has taught for a number of years at the Pennsyl- 
vania Academy of the Fine Arts and at the Hartford Art School. His 
summer school at Shinnecock, L. I., is famous. His influence as an in- 
structor is the most far-reaching of any artist in America and probably 
of any country, and his traveling classes abroad are a feature in the 
progress of American art. He is one of the foremost landscapists and 
portraitists, and the best "still-life" painter in America. A member of 
the National Academy of Design since 1890. 

The beginning of his reputation as a painter was made when he ex- 
hibited his "Court jester" in 1876; his "Smoker" (the portrait of Frank 
Duveneck) won for him honorable mention in the Paris salon and at a 
Munich exposition. 

His most famous portraits are those of his mother, "My daughter 



44 

Helen," Mrs. Tyler, Dr. Osier and Thomas Dolan. Among his fanciful 
pictures are "Alice," "Dorothy and her sister," "The red box," "Ring- 
toss," "Girl with dog," "Ready for the ride," "The gray kimona," "The 
open Japanese book." These serve well to illustrate the distinctive 
quality of Chase's color sense. (Craftsman 18:33.) 

Mr. Chase is world-famous for his painting of brass and other metals; 
and he paints 1he gold frame of the picture within his picture with suffi- 
cient skill to stand comparison with the real frame. 

Of his brush work, Hartmann says: "There are passages in some of 
his pictures which even brush magicians like Whistler and Zorn cannot 
surpass. Chase is always clever. "Clever" is a word often misused. 
It is well applied to him." 

.Mr. ('base's portrait hangs in the Uffizi, Florence. Italy, in the famous 
gallery devoted to the portraits of painters by themselves. This is an 
emphatic recognition of his achievement and his standing in the profes- 
sion of art. Only two other American artists have been thus honored 
— Healy and Sargent. 

In 1903 he was elected a member of '-Ten American Painters" to fill 
the vacancy caused by the death of John Henry Twachtman. 

Kenyon Cox says : "His picture in the Hearn collection, with its 
somber glow of copper in the dark background, its iridescent, gleaming 
fish, its one red apple, and its two wonderfully painted green peppers, 
is a masterpiece which no living painter could surpass in its own way." 

Christy. Howard ('handler. Illustrator, b. Morgan county, Ohio, 
January 10, 1873. Was educated at Duncan Falls. Ohio. At the age of 
twenty he entered the National Academy of Design, New York, and in 
Iwo months had won honorable mention and one bronze medal. He 
studied under William M. Chase and later became instructor in Cooper 
Union, the Chase School. New York School of Art and the Art Students 
League. 

During the Spanish-American war was with the Rough Riders before 
Santiago and established his reputation by his Cuban pictures and types 
of the navy and army men. He wrote war stories and illustrated them 
for Scribners and Leslie's Weekly, and has made hundreds of illustra- 
tions for other publications. 

Among his best known and most popular works were his pictures 
illustrating "Miles Standish" and "Evangeline." Mr. Christy is famous 
as the painter of the American girl. 

His art is of a high romanticism in conception and academic in its 
execution. 

Church, Frederick Edwin, b. Hartford, Conn., May 4, 1826; d. New 
York, April 7. 1000. The pupil of Thomas Cole, he resided with him at 



45 

Catskill, N. Y., thus gaining' the first inspirations along the shores of the 
Hudson and amid the beautiful regions of the legendary Catskills. Es- 
tablished a studio in New York and was elected an academician of the 
National Academy in 1849. Made sketching tours in South America in 
1853 and 1857; later, on the coast of Labrador and in Jamaica. In 
1868 visited Europe and the Holy Land. Visited Mexico in 1883. 

Church's ''Niagara" was immediately recognized as the first satis- 
factory delineation in art of one of the greatest natural wonders 
of the western world, and this is in itself extraordinary praise. It re- 
ceived medal at the Paris Exposition of 1867. When Ruskin first saw 
this painting he pointed out an effect upon water which he declared he 
had often seen in nature among the Swiss waterfalls, but never before 
on canvas. 

Among his works sketched on his extensive tours are : 

"Icebergs" "Rainy season in the tropics" 

"A South American landscape" "Heart of the Andes" 

"The afterglow" "El Khasno Petri" 

"Andes of Ecuador" "Cotopaxi" 

"Chimborazo" "Twilight in the wilderness" 

"Morning in the Cordilleras" "View of Quebec" 

"Jerusalem'' "Aurora borealis" 

Church's works are generally composite rather than a transcript ion 
of actual landscape. 

Church, Frederick Stiakt, b. Grand Rapids. Mich., December 1, 
1842. Studied in the Chicago Academy with Walter Shirlaw and later 
in the National Academy of Design and Art Students' League of New 
York, and for some years has occupied a studio in that city. His first 
popularity was gained by his drawing in black and white; he furnished 
book and magazine illustrations for Scribners and other publication 
houses; then oil and water-color work attracted his attention. 

Is a member of the National Academy of Design, New York, Society 
of Painter-Etchers, London, and the New York and Philadelphia etch- 
ing clubs. 

"Una and the lion," "The lion in love," "Beauty and the beast,'' 'The 
black orchid," "The sorceress," and "Twilight" are familiar examples 
of his graceful realization of purely fanciful themes. 

Of his works, Isham in his "History of American painting," says: 

"They are not profound, they are not subtle yet if they have 

the simplicity of a story told to children, they have also freshness and 
charm. If the drawing is loose, it is also graceful." 

There are probably no more popular etchings than his, wherein a 



46 

graceful and humorous fancy charms us all. His ''Mermaid" is a well- 
known plate. 

Clark. Walter Appletox, Illustrator, b. Worcester, Mass., June 24, 
1876; d. New York City, December 27, 1906. With a purely local art 
training of some three years, he established himself as one of the lead- 
ing illustrators of the day. Taught classes at the Art Students' League 
and Cooper Union, N. Y. and at the Pennsylvania Academy of the Fine 
Arts. 

A picture of his on the wall of the Art Students' League, while a 
student, attracted the attention of the art editor of Scribner's maga- 
zine; this led to his being employed to illustrate one of Kipling's stories. 
Among his latest works was the illustration of the modern version of 
"Canterbury Tales" by Percy Mackaye. 

"Mr. Clark's strong point is his execution, he has a nice clean dexter- 
ity of touch, employed with nobility and ease." 

"In finish he obtains the feeling noticeable in the color work of 
Vibert and his compositions are handled with the adroitness of Fortuny, 
with less dash, however, but with more delicate sympathy and refine- 
ment." 

Clarke, Thomas Shields, Sculptor, b. Pittsburgh, Pa., April 25, 1860. 
Graduated at Princeton University in 1882. While a student at the Art 
League in New York, he made illustrations for magazines. Going to 
Paris, he studied drawing under Boulanger and Lefebvre, modeling 
under Chapu, and painting under Gerome in the Ecole des Beaux Arts; 
later was instructed by Dagnan-Bouveret ; also studied art in Florence, 
Rome and Venice. Associate member of National Academy of Design, 
1902. 

His paintings and sculpture have brought him honor at home and 
abroad, he having been represented at international expositions at Ber- 
lin, Madrid, London and Paris. 

His "Night market in Morocco" received official recognition at the 
Berlin Exposition in 1891; "A fool's fool" was shown at the Paris salon, 
and upon its merits he was admitted to membership in the Society of 
American Artists, New York. "A gondola girl," "Morning, noon and 
night" and other Venetian works are attractive. 

His bronze group — fountain design — "The cider press," displayed at 
the Madrid Exposition, brought him a medal of honor, presented per- 
sonally by the King of Spain. 

Four caryatides — "The seasons" — on the New York Appellate Court 
building are dignified and graceful. His more important work in sculp- 
ture is "Alma Mater and her son Alumnus," for Princeton University. 
"These figures are splendidly modeled and thoughtfully conceived." 



47 

Mr. Clarke has also done some notable mural decoration. 
(B. & P. 0:195.) 

Cole, Thomas, b. Bolton-le-Moor, Lancashire, England, February 1, 
1801; d. Catskill, N. Y., February 11, 1818. Was of American parent- 
age, and in 1819 the family returned to America taking up their resi- 
dence at Stubenville, Ohio, where he began the study of painting under 
a portrait painter named Stein. Not successful in portrait work, he 
took up landscape painting. In 1825 he went to New York, subse- 
quently became intimately acquainted with Durand and Trumbull. He 
was one of the founders of the National Academy of Design and had 
a picture at its first exhibition in 1820. A patron sent him to Europe 
in 1829 to complete his art education and he remained there about three 
years sketching and painting in England, France and Italy. After his 
return he painted two allegorical series, "The course of empire" ami 
"Voyage of life." These soon won him great contemporary popularity. 
(Noble's "Life and works of Thomas Cole.") These paintings were ex- 
hibited in the rooms of the New York Art Union in 1818 and were 
visited by a half million people. Other paintings depict scenes from an 
extreme range of landscape. 

"All are remarkable for imagination, composition and the most re- 
fined and picturesque truth to the details, as facts and influences of 
nature." (Tuckerman.) 

His most beautiful illustrations of Italian scenery are "PAllegro" 
and "II Penseroso," companion pieces. Of American views one of the 
most attractive is "The hunter's return." One of his most highly fin- 
ished works is a picture illustrating Mrs. Hemans' poem "The cross in 
the wilderness." "The tone of the picture is quite Claude-like." (Tuck- 
erman.) Caffin says: "Cole forms a link between the new enthusiasm 
for nature study and the older predilection for historical and "grand 
style" subjects." According to this authority his more enduring claim, 
however, to be remembered, consists in his having aroused an appre- 
ciation of the pictorial possibilities of the Catskill, and of American 
landscape in general. He makes nature the vehicle for moral allegories. 

Cooper, Colin Campbell, b. Philadelphia, Pa. Studied in Pennsyl- 
vania Academy of the Fine Arts, Philadelphia, Academie Julien and 
other art schools in Paris. Is a member of many leading art clubs in 
this country, and has been awarded many medals and prizes. Is an as- 
sociate member of the National Academy. Has spent much time in 
Europe painting figure and architectural subjects, architecture and 
street scenes being his specialty. Mr. Cooper's notable achievement is 
his long series of canvases depicting the picturesque charm of the mod- 



48 

ern sky-scraper; lie began this work in L902. He sees beauty, sublimity 
and grandeur in the structures that the average person is wont to call 
monstrosities. 

He handles water-colors on canvas so cleverly that his water-colors 
can scarcely be distinguished from oils. 

"Broad street, New York," "Rush hour Brooklyn bridge," "Broad- 
way," "The chain gate," "The Flatiron building," "Walton hotel, Phila- 
delphia," and a scene in Perm Square, are additional proof of his skill 
in clothing the common place brick and mortar of the business block 
with rich warm colors of their own. 

"That Cooper has the natural gift of seeing the beauty of what to 
most people are prosaic structures, and the patience and persistence to 
perfect his delineation of street and building, is the secret of his success 
as an architectural painter." (B. & P. 18:72.) 

Copley, John Singleton — "The painter of early gentility" — b. Bos- 
ton, Mass., July 3, 1737; d. London, England, September 9, 1815. At 
the age of seventeen he produced his first grouped picture — an allegori- 
cal study of Mars, Venus and Vulcan. From that time he was recog- 
nized as a painter. Through the influence of Benjamin West his "Boy 
with the squirrel" was exhibited in London in 1706. and in 1772 he was 
elected a fellow of the Society of Artists. In 1771 he settled in London 
and became a notable painter of historical scenes. In 1770 he was 
elected associate of the Royal Academy, and in 177!), academician, and 
presented, on admission, his "Tribute money." His "Death of the Earl 
of Chatham" established his fame in England. 

He opposed the classical productions of the age by his vigorous repre- 
sentations of events of history and war. Among his numerous sub- 
jects in this line are: "Death of Major Pierson," "Siege of Gibraltar," 
"Surrender of Admiral de Windt to Lord Camperdown," "Charles I 
demanding the five impeached members," "Charles \ signing Strafford's 
death warrant," "Offer of crown to Lady Jane Grey," "Assassination of 
Buckingham." He also painted religious subjects and large portraits 
groups of noted English families. But of his earlier work — that done 
before he left Boston, which consists of a long series of portraits of our 
colonial dignitaries, divines, judges and merchants — Isham says: "These 
paintings are the most authentic records of our pre-revolutionaiy 
ancestors which have come down to us." 

Copley's best known portraits in America are those of John Adams 
and John Hancock. 

Caffin says: "Copley was the most distinguished in skill of crafts- 
manship of all (he pre-revolutionary painters." 

Copley was not poetical, but he produced splendid prose. 



49 

Cory, Fanny Young (Mrs. F. W. Cooney), Illustrator, b. Wauke- 
gan, 111., October IT, 1877. Studied art at the Metropolitan School and 
the Art Students' League of New York. Married to F. W. Cooney, 
1904. 

Has made illustrations for the Century Company and Harper Bros, 
and illustrated numerous books, including "Alice in Wonderland," 
"Through the looking glass,"' etc. 

Favorite children's pictures are: 

"Do you ever make saucer pies?" "Shoo!" 

"On the dark stair" 

Couse, Eanger Irving, b. Saginaw, Mich., 1866. Pupil of National 
Academy, New York, Bouguereau, Kobert-Fleury and Ecole des Beaux 
Arts, Paris. Keceived the Shaw prize for black and white, at Salma- 
gundi Club, 1899; second Hallgarten prize National Academy, 1900; 
Proctor prize, Salmagundi Club, 1900; honorable mention, Paris Expo- 
si lion, 1900; first Hallgarten prize National Academy, 1902. Associate 
member National Academy of Design, 1902; academician, 1911. 

Devotes himself to the Pueblo or town Indians of the southwest, 
painting them in their actuality or with ideal touch in their home in 
New Mexico. Part of the year he passes at Taos, for the portrayal of 
the Taos Indians is the art of Mr. E. Irving Couse. 

He had much difficulty in securing interesting and picturesque models, 
as it is a matter of belief with these Indians and in fact with others, 
that the soul of the sitter passes out into the portrait when the picture 
is completed, and naturally, until the prejudice is overcome, there is 
not much enthusiasm about posing. 

He paints the Indian not primarily as the actor in a wild savage 
drama, as Bemington and Schreyvogel have, but as the peaceful dweller 
in primitive scenes, revealing them often as more poetical and philo- 
sophical than the more so-called civilized races. (Craftsman, 18:619.) 

Admired works are : 

'"The mountain hunter" "The weary hunter" 

••The magic forest" "Bear cubs" 

"Trout ripples" "Keturning to camp" 

"An Indian shepherd" "Medicine fires" 

"The voice of the falls" "The trout streams" 

"Elk-foot" "The brook" 

Cowlks. Genevieve Alaikda and Maud Alice (twin sisters). Mural 
and stained-glass decorators, b. Farinington, Conn., February -2'A, 1871. 
Always lived in an atmosphere favorable to the cultivation of their 



50 

naturally artistic tastes. They took up drawing at the age of seven; 
a little later they were taken to Europe and in Florence, Giotto, Fra 
Angelico and Botticelli impressed their imaginations deeply. Their 
first series of children were drawn for Seribners. They have done much 
work for magazines, executed stained glass windows in various churches, 
also specialized in mural decoration. 

Their mural decorations in Christ Church, New Haven, Conn., are 
especially noteworthy. They represent : ''Prayer of the prisoner," 
''Prayer of the soul in darkness," and "Prayer of old age." These are 
paintings of states of the soul and of deep emotions. They are records 
of human lives and not mere imagination. 

Other works are. Memorial window and a decorative border for the 
chancel of Saint Michael's Church, Brooklyn ; a window in the memory 
of the deaconess. Miss Stillman, in Grace Church, New York. Have 
executed many windows and other decorative work for churches. 

Miss Maud Alice died during the summer of 1905. 

Miss Genevieve writes : "I desire especially to work for prisons, 
hospitals and asylums — for those whose great need of beauty seems 
often to be forgotten." 

She contributed to the Craftsman 10 :97 a most interesting article on 
"Building a stained glass window/' 

Cox, Kenyox. b. Warren, O., October 27, 185(3. Studied in Cincinnati 
and Philadelphia; also in Paris under Carolus-Duran and Gerome. 
1877-82; returned to New York. 

Received second Hallgarten prize at the Academy exhibition in 1888, 
and the same year received two prizes for works at the Paris Universal 
Exposition. His pictures are principally portraits and figures. Painted 
two decorations in the Library of Congress, one in Walker Art Gallery 
Bowdoin college, one in Iowa state Capitol, frieze in court room of 
Appellate Court building, New York. Associate member of National 
Academy, 1900, full member, 1903; also member of American Academy 
Arts and Letters. 

"A lady in black" was exhibited in the salon during his Paris student 
days and on the merits of this work he was elected to the Society of 
American Artists. 

Best known paintings are : 

"Jacob wrestling with the angel" "Painting and poetry'' 

"Vision of moonrise" "Flying shadows" 

Mr. Cox is regarded as a colorist of distinction, but especially excels 
as a draughtsman. He is also well known by his critical writings of 



51 

art and by his work in black and white, including- his illustrations to 
Kossetti's "Blessed damozel." (I. S. 32:3.) 

Crane, Bruce, b. New York, October 17, 1857. Studied art under 
Alexander H. Wyant. At the age of seventeen while residing in Eliza- 
beth, New Jersey, he entered the office of an architect and builder and 
there had actual experience as a practical draughtsman. In 1878 he 
went abroad visiting the galleries of Liverpool, London and Paris. Ex- 
hibited his first picture, "An old mill pond on Long Island," at the 
National Academy in 1879. The summer of 1882 he spent in the historic 
old town of Grez, near the forest of Fontainebleau. 

Received the Webb prize, Society American Artists, 1887; bronze 
medal, Paris Exposition, 1900; the George Inness memorial gold medal 
National Academy, 1901. An associate member of the National Acad- 
emy in 1897, full member, 1901. He belongs distinctly to the plain air 
school of landscape painters and chooses only native subjects. As a 
teacher he has met with remarkable success. 

Mr. Crane has produced a long list of charming, poetic canvases, 
being one of America's most idyllic landscape painters. 

His most notable canvases are: 

"Winter" "November woods" 

"A haystack" "Peace at night" 

"Apple blossoms" "A black cloud" 

"Brown and sere" "Waste land" 

"Ripening grain" "White fields" 

"The gray hill" "A New England meadow" 

"Rainbow" "Harvest field" 

"Indian summer" "After the rain" 

He writes : "A work of art is not a scientific statement. It is enough 
if it be true to itself, that is to say, harmonious." 

"It is by the simple selection of colors and the conscientious pains- 
taking methods that Crane has achieved his notable successes." (B. & 
P. 11:1.) 

Crowninshiem), Frederic — Mural and stained-glass designer — b. 
Boston, Mass., November 27, 1845. Pupil of Rowbotham in London, 
Benouville in Rome, Ecole des Beaux Arts, Cabanel and Couture in 
Paris. Elected associate member of the National Academy of Design, 
New York, in 1905. 

Director of the American Academy in Rome. Was instructor in the 
Boston Museum of Fine Arts 1879-85. Has published poems and illus- 
trated them. Also a lecturer on artistic anatomy. President of the Fine 



52 

Arts Federation, New York. Member American Society of Mural 
Painters. 

Mural work : 

Marquant chapel, Princeton; 

Waldorf hotel, New York, dining room ceiling; 

Manhattan hotel, New York. 

Dabo, Leon, b. Detroit, Mich., July, 1868, of French parents. Edu- 
cated at Saint Ann's school, Detroit; was also a student at Ecole des 
Arts Decoratifs and under Daniel Urabietta Vierge, Paris, and received 
instructions from Galliardi in Rome and Florence. Lived in Sicily, 
Sardinia and Corsica; returned to United States in 1892. Is repre- 
sented in collections at Berlin, Dresden, London National Gallery, New 
York, Washington Museum of Art, Detroit and other American cities. 

The works of this "'poet in color'' have been uniformly rejected by 
the juries of all our American exhibitions as regularly as they have been 
sent. But when M. Leonre Benedite, director of the Luxembourg 
Museum, was in this country in 1907 he bore back to Paris in glad 
triumph for the Luxembourg one of Dabo's pictures that had been uni- 
formly rejected by all our exhibitions. 

Artists like Edmond Aman-Jean and Auguste Rodin, critics like Paul 
Vallorbe and Camille Mauclair, poets like Maurice Maeterlinck and 
Anatole de Braz, and such responsible authorities as M. Leonre Bene- 
dite of the Luxembourg and Alexander D. Goltz, president of the Mod- 
ern Society of Painters, Vienna, have joined in appreciative praise of 
this painter. (Craftsman 13:26.) 

Most of Dabo's work has been done around New York bay and along 
the banks of the Hudson river. 

"Each picture is made up of a succession of harmonious tones which 
blend together in pleasing symphonic effects." (B. & P. 17:3.) 

Dabo is a spiritual impressionist. He paints the landscape as one for 
whom it has been transfigured by some vision. 

A few of his works are: 



"The Hudson, Fort Lee" 
"The Hudson river" 
"The Hudson in winter" 
"The Weehawken basin" 
"Evening on the Hudson" 



"The Hudson near Kingston" 

"The cloud" 

"The sea" 

"Early morning, Hudson river" 

"Golden days" 



"His work represents a singleness of idea and manner to a degree un- 
usual in modern art." 



5:} 

Dabo, Theodore Scott, b. Detroit, Mich., 1870, of French parents. 
Was educated at Saint Ann's school, Detroit. When his father, Ignace 
Scott Dabo (himself an artist) died in 1885, the family moved to New 
York City. Leon, the oldest son, went to work for a decorator, that this 
gifted brother, T. Scott, might study without turning his talent to com- 
mercial profit. For sixteen years the paintings of the brothers Dabo 
were refused admission to the art exhibitions in this country. Edmond 
Aman-Jean, the French painter, was the first to recognize the artistic 
value of their work and took T. Scott to Paris where his canvases were 
accepted by the salon and he was greeted as an artist of rare individual- 
ity and strength. 

Hartmann says : "The highest quality in Dabo's work is the result of 
inner, not outer vision." 

M. Henri Pene DuBois says : "T. Scott Dabo's works are hymns to 
nature. They are skies with vermilion mists exhaling praise as from a 
censer, marshes of melancholy, rivers of peace and forgiveness, fairly 
spectacles of land and water." M. DuBois also suggests Poe as a 
source of inspiration. Another saw in his work the influence of Mal- 
larme. Octave Mirbeau recently wrote that T. Scott Dabo had the 
charm of Puvis de Chavannes and the transparency of Carriee. 

Reproductions can give no adequate idea of the depth of light and 
charm in color in T. Scott Dabo's "Tour St. Jacques in the rain," or 
his "Evening on the Seine." 

"We are the painters of atmospheric conditions," they say: "every 
thing in nature moves, we therefore endeavor to paint movement.'' 
They make color a vehicle of music-like vibrations. (I. S. 39:lv.) 

Daixgerfield, Elliott, b. Harper's Ferry, Va., March 26, 1859. 
Studied drawing and painting in New York with a private teacher, also 
at the Art Students' League. First exhibited at National Academy of 
Design in 1880. Studied in Europe during 1897. Is professor of paint- 
ing and composition at the Philadelphia School of Design. A member 
of the National Academy, 1906. A writer on art subjects. 

Mr. Daingerfield's productions are largely figure and landscape, and 
his studies are usually taken from rural life, the toiler of the field being 
his favorite subject. 

In his paintings, color quality and depth of feeling are the dominant 
features and pervade the rough exteriors in which his characters are 
dressed. (Nat. Cyc. Am. Biog.) 

Among his noted canvases are : 

"Two women shall be working "The lost sheep" 

in the fields" "The mother" 

"My lady rhododendron" "A madonna of the fields" 



54 



"Child of Mary" 
"A garden of dreams" 
"Labor and plenty" 
"Planting" 



''Christ in the wilderness" 
"A woodcutter" 
"Story of the madonna" 
"The tanagra" 



Was commissioned to paint the "Lady Chapel" of the Church of St. 
Mary the Virgin, New York, in 1902. 

"He is an imaginative painter with a strong sense of decorative 
beauty and he subordinates realistic facts to the effect of the ensemble." 

Daxxat, William T., b. Hempstead, L. I., July 9, 1853. Going 
abroad at an early age, he was educated in art at the Royal Academy 
of Munich; studied also in Italy and Spain, after which he settled in 
Paris. No foreign painter has ever received greater praise from the 
French people. 

His first picture to attract attention was his celebrated painting en- 
titled "The quartette," exhibited in the salon of 1884. This picture was 
also exhibited at the Universal Exposition 1889 and was given a place 
of honor in the American section. It procured its author the rank of 
chevalier in the Legion of Honor. He was elected officer, 1897; com- 
mander, 1900. Mr. Dannat is president of the Taris Society of Ameri- 
can Painters and has been the recipient of numerous medals and diplo- 
mas. 

Popular paintings: 



"After the mass'' 
"Otera" 

"Spanish women" 
"Aragonese smuggler" 
"A sacristv in Aragon" 



"Mariposa" 

"Une Saduceenne"; woman in 

white. 
"Un profil blond"; study in red. 



"Degas is his ideal, and the study of artificial light his field of experi- 
ment." (Miither.) 

"In Mr. Dannat's work we find the qualities of the most gifted artists 
— a vision of singular acuteness and sensitiveness, a refinement and deli- 
cate intelligence, perfect command of the means of drawing and paint- 
ing and finally that taste and that aesthetic tact which enables him to 
avoid every excess whether of commonplace or of eccentricity— these 
two extremes on the verge of which the masterpiece is conceived and 
consummated." (Child's "Art and criticism.") 

Albert Wolff voiced the current opinion when he declared Dannat's 
"Quartette" to be the best piece of painting in the salon of 1884. 



Daviics, Arthur B., b. Utica, N. Y., 1862. Received silver medal at 



Pan-American Exposition, Buffalo, 1901. Is a member of the New York 
Water Color Club. 

An art critic recently writing on the American art of the Metropoli- 
tan Museum of Art, New York, refers to the strange somnambulistic 
intensity of his "Dreams" "with an entire absence of color and its 
great beauty of tone, the sense of slow continuous movement secured 
not by the drawing of the figure itself, but by the imaginative composi- 
tion of the background.'' 

Davis, Charles Harold, b. Aniesbury, Mass., January 7, 1856. Very 
early he displayed marked artistic ability. Was a pupil of Otto Grund- 
maun and the Museum of Fine Arts, Boston, three years; also studied 
under Lefebvre and Boulanger, Paris. Remained in France ten years 
and exhibited in the salons during that time. Has resided at Mystic, 
Conn, since 1890. 

Represented at Metropolitan Museum, New York, Corcoran Gallery 
of Art, Washington. Pennsylvania Academy of the Fine Arts, Philadel- 
phia, Art Institute, Chicago, Carnegie Institute, Pittsburg. Has been 
awarded prizes and medals at many competitive exhibitions. Received 
honorable mention in the Paris salon and in 1889 a second-class medal 
at the Universal Exposition, thereby his works becoming hors de con- 
cours. A member of the National Academy since 1900. 

One of the strongest American landscape painters. He gives the 
actual tone of the hour, whether it be sunrise, noon or sunset, in which 
his own personality while evident does not crowd out the personality of 
nature. 

Among his most famous productions are: 

"Winter evening" "Oak boughs" 

"Summer" "The hillside" 

"The brook" "Summer breeze" 

"Twilight hour" "Autumn clouds" 

Speaking of his works at a recent exhibition, a well-known critic said: 
"EveiWAvhere is dash, freedom, personality, nature, charm." 

In his pictures, .Mr. Davis intends to record artistic sensations. Each 
one has a particular motif which has been rendered in a fresh spontane- 
ous and thoroughly pictorial fashion. 

"The science of his art is secondary to what he is trying to say. and 
in its entirety of science and art, of technique and sentiment, these pic 
tures by Mr. Davis rank him among the great landscapists of the day." 
1 15. & P. 4:122.) 

Dearth, Henry Golden, b. Bristol, R. I.. April 22, 1863. Pupil of 



56 

Ecole des Beaux Arts; also studied with Morot aud Merson. Won 
Webb prize Society American Artists 1893; bronze medal, Paris Expo- 
sition, 1900; silver medal Pan-American Exposition, Buffalo, 1901. 
Elected associate member National Academy in 1902; academician in 
1906. 

Mr. Dearth's specialty is landscapes on the Coast of Normandy. He 
has a home and a studio at Montreuil-sur-Mer in Pas-de-Calais, along 
the English Channel where he works several months each year. The 
keynote of his work is simplicity. He suggests details. This is most 
apparent in his "Sunset in Normandy." His pictures have dignity and 
poetry. (Century 48:157.) 

De Camp, Joseph Rodefer, b. Cincinnati, O., November 5, 1858. 
Studied art with Frank Duveneck, at the Cincinnati Academy and at 
the Royal Academy, Munich. Later accompanied Duveneck and 
Whistler to Florence and Venice. Won first prize city hall decorative 
competition, Philadelphia ; Temple gold medal, Pennsylvania Academy 
of the Fine Arts, 1889; received honorable mention at Paris Exposition 
1900; gold medal at St. Louis Exposition 1901. Member of the society 
of Ten American Painters. Has been instructor in the Pennsylvania 
Academy of the Fine Arts and a member of the faculty in the schools 
of the Boston Museum of Fine Arts. 

Mr. DeCamp is known chiefly from his portrait and figure painting, 
although his landscapes are among the finest painted by American 
artists. 

For years he has had steady patronage from soldiers, statesmen, 
musicians, artists, writers and educators. His portrait of Col. Roose- 
velt which he was commissioned by a committee of the members of the 
class of 1880 at Harvard to paint and which hangs in Memorial Hall 
at Cambridge, is considered a wonderful achievement. Mr. DeCamp's 
w r ork is not frequently seen in New York except at exhibitions of the 
Ten American Painters. 

Arthur Hoeber, the art critic, says: "None of the modern painters, 
either in this country or in Europe is better equipped technically than 

is Joseph DeCamp He draws with academic correctness, has a 

thorough knowledge of anatomy and construction aud for facility of 
brush work yields to no one." 

Julia de Wolf Addison says that one of the best pictures ever painted 
by Joseph DeCamp is owned by the Boston Museum of Fine Arts — 
"Guitar player." 

Popular figure paintings are: 

"The blue cup" '•The window" 

"The pink feather" "The violinist" 



57 

Dehavi^n 1 ,, Frank, b. Bluff ton, Ind., December 2G, 1850. With money 
he earned at the age of sixteen he bought his first box of paints. In 
1886 he went to New York and became a pupil of George H. Smillie. 
He won the Inness prize in 1900; Shaw prize. 1001, and received honor- 
able mention at the Pan American Exposition, Buffalo, 1901. Elected 
associate member of National Academy in 1902. 

His "Moonrise and sunset" he regards as his most important work. 
It has warm color and a hazy glow — the russet of autumn, lighted by 
the sinking sun. "Autumn twilight" with its deep clear blue sky, in 
which the evening star twinkles near the horizon, is full of mystery. 
"A Maine farm" is a study of early autumn with the neutral atmos- 
pheric grays of the waning year. His "Winter night" and "Indian sum- 
mer" are in direct antithesis. 

His versatility is simply another expression for his breadth of inter- 
est, and his various tonal schemes for his mastery of color. 

"His subjects are simple and poetical, the last glow of the sun, a 
windy day, a threatening sky, or struggling clouds throwing a stream 
of light on the plain, furnish the principal themes of his pictures."- 
Hartmann. 

"His chief interest is to manipulate his color so as to make his canvas 
the means of imparting an emotion . . . His scenes are bona fide 
scenes, simple bits in which he has seen beauty; and the emotion he 
seeks to arouse is the genuine emotion that he himself has experienced 
and that he strives to make others feel." (B. & P. 17:179.) 

DeKay. Helena (Mrs. R. W. Gilder). It was in Miss De Kay's studio 
that on June 1, 1877, she with Augustus Saint-Gaudens, Wyatt Eaton 
and Walter Shirlaw met and organized the Society of American Artists. 

Mrs. Gilder has retired from the profession but Isham in writing of 
her pictures says: "She showed a charming feeling for subtle color in 
her ideal heads and especially in her flower studies." 

Dessar, Louis Paul, b. Indianapolis, Ind., 1867. Studied at the Na- 
tional Academy in 1886; later went to Paris and studied under Bou 
guereau and Robert-Fleury and at the Ecole des Beaux Arts. 

Awarded third-class medal salon 1891; received honorable mention 
Carnegie Institute, Pittsburgh, 1897; second Hallgarten prize National 
Academy, 1900; bronze medal, Paris Exposition, 1900; an associate 
member National Academy, 1900; full member, 1906. 

An artist with a most delicate color sense. Paints the decorative 
landscape rather low in key, rich in color, and paint laid on solidly. 

It is by his sheep pictures that he is best known in this country. 



58 

"Evening" was one of the prize pictures at the Columbian Exposition. 
Chicago. 1893. 

Among his well-known works are : 

"Going home'' "Nocturne" 

"Return of the flock" "Moon rise" 

"The fold in the woods" "Clearing after the rain" 

"Ploughing" 

His wife is the original of the charming subject "Elizabeth." 
"lie does not seem to care so much for composition or for assimilat- 
ing the ingredients of the scene and representing them in synthetic 
form, as for surface play of color in certain portions of the picture. 
(The artist. 24.) 

"He is fond of the atmospheric effects of sunset and moonrise, and 
often finds an aid to his composition in his interest in animal life." 
i I. S. 27: B. & P. 5:97.) 

Dewing, Maria Oakey, (Mrs. T. W. Hewing), b. New York. October 
27, 1857. Pupil of National Academy of Hesign and John LaFarge in 
New York; Courtois in Paris. Received bronze medal at Pan- American 
Exposition, Buffalo, 1901. 

Specialty : Figure and flower pieces and portraits. 

Hewing. Thomas Wilmer, b. Boston, Mass., May 4. 1851. Pupil of 
Boulanger and Lefebvre in Paris. Won the Clarke prize, National 
Academy of Hesign, 1887; silver medal. Paris Exposition. 1889; Lippin- 
cott prize. Pennsylvania Academy of the Fine Arts, 1906; first medal, 
Carnegie Institute, 1908. Member of '"Ten American Painters." 
Elected a member of the National Academy of Hesign in 1888. 

"The exquisite poem "In the garden" is one of the few perfect master 
pieces which American figure painting has produced. "The south wind" 
is a very beautiful allegorical conception." 

Characteristic paintings are : 

"Sorcerers" "Before sunrise' 

"The blue dress" "The carnation" 

"After sunset" "The garland" 

"Yellow tulips" "The mirror" 

"Girl with lute" "Early portrait of the artist's 

"A lady playing the violincello" daughter" 

"The spinet" 

"The quality in Dewing's work which appeals to me [Hartmann] be- 
yond every other, is its personal character; it reflects the man's mind. 



59 

that of a refined epicureanism, choosing naturally to live among dainty 
surroundings and beautiful women." 

Caffin says: "The technical summary of Thomas W. Dewing's work 
is impression ism, based upon skilful draftsmanship and the facile in- 
terpretation of a color sense, not catholic, but deeply felt." 

Dewing paints amber-toned interiors. 

Dewey, Charles Melville, b. Lowville, New York, July 16, 1851. As 
a child he displayed artistic talents, earning the money for his first 
painting materials by building the fire in the country schoolhouse. In 
1874 he went to New York and became a pupil in the National Acad- 
emy; two years later he went to Paris and entered the atelier of 
Carolus-Duran and was honored in being selected as one of three pupils 
to assist his master in the decoration of the "Plafond" of the Louvre. 
He returned to the United States and opened a studio in New York in 
1878. 

He early became known as a truthful delineator of familiar phases 
of American landscape. 

u His landscapes are synthetic in treatment, for he seeks to interpret, 
rather than to transcribe an effect." (Nat. Cyc. Am. Biog.) 

Characteristic paintings are: 



"Edge of the forest" 
"The close of day" 
"The queen of night" 
"An autumn pastoral" 
"The star and the shadows" 



"Gray robe of twilight" 
"River at night" 
"Return of the hay boats" 
"The harvest morn." 



His pictures have a liking for the subdued light of morning and 
evening, the trees masses dark against the sky, the depth and mistiness 
of the twilight foliage ami the glow of the twilight sky. 



Dielmax. Frederick, Mural painter, b. Hanover, Germany, Decem- 
ber 25, 1817. Came to the United States in childhood. Graduated at 
Calvert College. His first artistic work that appeared was entitled "A 
scene from a confederate raid in Maryland," and this was published 
when he was sixteen years of age. He studied art under Diez at the 
Royal Academy, Munich, returned to New Y'ork in 187(3 and opened a 
studio there. 

Mr. Dielman was one of the founders of the Society of American 
Artists, and was elected a member of the National Academy of Design 
in 1883; also was one of the founders of the New York Etching Club. 

Was president of the National Academy of Design 1889-1909; profes- 
sor of descriptive geometry and drawing in College of New Y^ork since 
1903. 



60 

He has contributed largely to the illustration of current fiction in 
leading magazines, and in editions de luxe of the works of Longfellow, 
Tennyson, Eliot, Hawthorne and others. 

Mr. Dielnian is a well-known designer of mosaic and mural work; 
his panels "Law" and "History" in the Library of Congress, the large 
mosaic "Thrift" in the Albany Savings Bank and six mosaics in the 
state capitol at DesMoines, la., rank with the best in this line of art in 
America. 

Mr. Dielman also paints in oil, the subjects chosen being usually 
genre or historical. A few are : 

••The marriage of Francis Le "Old time favorites" 

Baron" "A girl I know" 

"The Mora player" 

His "Pomona," "Gabrielle" and "Christine" are dainty bits of execu- 
tion. 

HeixigkE; Otto, b. Brooklyn. New York, 1851. A mural painter, but 
makes a specialty of stained glass. Also a writer. 

Dillaye, Blanche,, b. Syracuse, X. Y. Educated at Miss Bonney's 
and Dillaye's school (now Ogontz. ) Studied art in the Pennsylvania 
Academy of the Fine Arts and in Paris; a pupil of Stephen Fairish in 
etching. Has exhibited both in Paris salons, and in England, as well 
as at all the principal exhibitions in the United States. Received silver 
medal for etching, at Atlanta Exposition, and at Universal Exposition 
at Lorient, France, 1903. 

Represented in art collection of Syracuse, N. Y. Vice-president of 
Philadelphia Water-color Club; first president of Plastic Club; member 
of Women's Art Club, New York; also of Women's Art Association in 
Paris. 

Miss Dillaye lias a penchant for odd nooks and narrow alleys— a 
"Quebec sail loft," being very characteristic. 

Doxoghue, John. Sculptor, b. Chicago. 111.. 1853; d. New Haven. 
Conn., July 3, 1903. Of very humble parentage. Had a short period of 
art study at the Academy of Design, Chicago; later studied with 
Jouffroy in the Ecole des Beaux Arts. Paris. Exhibited a head 
"Phaedra" in the salon of 1880. Returned to Chicago the same year. 
When Oscar Wilde visited this country in 1882 he called attention to 
Donoghue's artistic promise and through his efforts Donoghue was able 
to return to Europe the following year. Received honorable mention in 



61 

the Paris salon of 1886. In Rome he produced a number of remarkable 
works. "Young Sophocles" undoubtedly his highest inspiration, stands 
among the most perfect examples of ideal sculpture yet produced by an 
American. 

It was Donoghue's dream to be represented in his native city by a 
great work of art. He conceived the idea for an immense statue to 
be known as "The spirit." (Milton is said to have been the inspiration.) 
This colossal statue was intended for the Columbian Exposition, 1893. 
Arriving too late, no arrangements were made to receive it in New York 
and it was left on the dock. The artist could not pay the transporta- 
tion bill. This and the failure to show his work in public caused him 
grevious disappointment. He lost enthusiasm and ambition and but 
little was known of him until his dead body was found on the shores 
of Lake Whitney, near New Haven, Conn., he having committed suicide. 
(Taft's "History of American sculpture.") 

Donoho, Gaines Ruger, b. Church Hill, Miss., 1857. Pupil of Art 
Students' League of New York and R. Swain Gilford. Lefebvre and 
Boulanger. 

Received silver medal at Paris Exposition 1889. 

Kenyon Cox says: "Mr. Donoho is a painter who has produced too 
little and exhibited too little of what he has produced, but this picture 
["La Marcellerie"] decoratively designed and closely studied shows us 
a talent at once robust and fine." 

Another critic refers to the same picture as fully up to the best salon 
standards and especially as "being beautifully painted." 

Duveneck, Frank, b. Covington. Ky., 1848. When eighteen years of 
age he was employed by a church decorator in Cincinnati and soon be- 
came an exceedingly valuable assistant. In 1870 he went to Munich 
and entered the Royal Academy. After three months' work in the an- 
tique class under Strahuber, he was admitted to the painting class of 
Prof, von Dietz. His progress was looked upon as phenomenal ; he 
took all prizes of the academy from antique drawing to composition. 
In 1878 he opened a school of painting in Munich which became so popu- 
lar that when he decided to go to Florence, nearly half of his pupils 
insisted on going with him; so he continued his classes in Florence and 
Venice for two years. 

He has received a number of medals and honors of many kinds, lie 
was elected member of the National Academy of Design, New York, in 
1906. Since returning to Cincinnati, he has devoted much time to 
teaching a painting class in the Art Museum of that city. 

Typical works are: 



62 

"Turkish page" "The woman with forgetmenots" 

"Whistling boy" "Venetian shrine" 

"Man with ruff" "Interior of St. Marks, Venice" 
"Prof. Loefftz" 

In addition to painting and etching, he has done some remarkable 
work in sculpture, receiving an award in the salon for a monument he 
made to his wife. His mural decoration in the new Catholic cathedral 
Covington, Ky., is spoken of as being a serious and dignified piece of 
work. 

"Duveneck's works with the paint brush are, with few exceptions, dis- 
tinctly paintings in the complete and full sense of the word, because 
they are emphatically made with paint and the paint brush and not 
drawn and colored. It is the expressive use of the paint brush itself 
that is a large factor in the artistic value of his work." (Arts and 
Decoration, July, 1911.) 

Eakins. Thomas, b. Philadelphia, Pa., July 25, 1844. Studied art in 
Philadelphia, at the Ecole des Beaux Arts, the Atelier Bonnat, and 
under Gerome and Dumont in Paris. 

Has received many medals and prizes. Was elected a member of the 
National Academy of Design, New York, in 1902. Instructor in the 
Pennsylvania Academy of the Fine Arts. 

Since his return to the United States he has taught in life classes, lec- 
tured as demonstrator of anatomy and become professor of painting 
and director of the Pennsylvania academy. 

His pictures are very varied in their subjects. He has painted many 
small pictures of domestic scenes in the early days of America, of Ameri- 
can sporting and athletic games, studies of the American negro char- 
acter and also portraits. 

" Eakins with a like grasp of the personality of his sub- 
jects and an even greater enjoyment of the picturesqueness of their 
attitudes and apparel, yet fails of the popular appreciation that he 
merits because of his neglect of the beauties and graces of painting — 
not the beauties and graces of his subjects." (Isham.) 

"Cello player" and "Salutat" are finished paintings and better indi- 
cate his power as an artist than the "Dancing lesson" and portraits 
earlier exhibited." (B. &. P. 6:130.) 

Eaton, Charles Harry, b. near Akron, O., December 13, 1850, d. 
Leonia, N. J., August 4, 1901. As a painter and illustrator, was self- 
taught. First exhibited at the National Academy of Design, New York, 
1881. Beceived silver medal, Boston. Associate member of the National 
Academy, 1893. Won the Evans prize in 1898 with his painting "The 



63 

brook," and received the gold medal of the Art Club of Philadelphia for 
his "■Willows." in 1900. "Lily pond" is another popular picture of his. 

Eaton, Wyatt, b. Philipsburg. Province of Quebec, Canada, May 6, 
1849. Studied art in New York at the National Academy of Design 
before going abroad in 1872. He spent a few weeks in London where he 
met Whistler, then went to Paris where he worked under G£rome; made 
the acquaintance of Millet, also Munkaczy. For four years his time was 
divided between Paris and Barbizon, in the forest of Fontainebleau. 

In his "Hay makers'' we trace the influence of Millet and Bastien- 
Lepage. 

While in France he painted figure subjects, landscapes and portraits, 
exhihiting in the salon of 1874 his ''Reverie'' and two years later his 
"Harvesters at rest." In 1876 he returned to America and became a 
teacher in the life and antique classes in drawing at Cooper Institute 
and was active in the formation of the Society of American Artists. 

Upon his return to America his first important works were portraits 
from life of Bryant, Longfellow, Emerson, Whittier and Holmes. His 
portrait of Mrs. R. W. Gilder and painting entitled "Man and violin" 
have an undisputed place among the best pictures produced in this 
country. 

"His characteristic note was not strength but rather delicacy of feel- 
ing : feeling for tone and color in his "Reflection," feeling for grace in 
his little classic figures, feeling for character in the crayon heads that 
he did of Emerson and Holmes and Whittier and others." (Isham.) 

Eberle, Abastexia St. Leger, Sculptor, b. in Iowa, April 16, 1878. 
Studied sculpture with George Grey Barnard and Gutzon Borglum. 

Miss Eberle was an accomplished musician which line of artistic en- 
deavors she abandoned for sculpture. There is a touch of mystery and 
grace prominent in her small works, as in "The dancer," where the wind 
of her movements draws her Hying draperies against her body. This 
work was sold at the International exhibition in Venice, 1909. In 
"L'lsole-e" we have the nude; in "Bacchante" a classic theme; and in 
"Indian Fighting Eagle" we see the aboriginal portrayed in a dramatic 
manner. 

The rendering of motion especially appeals to Miss Eberle. She says: 
"If I were a painter, I would be an Impressionist." 

Her collaborations with Miss Anna Vaughn Hyatt have received 
commendation and praise from those qualified to pass upon their artis- 
tic merits. 

Giles Edgerton says: "One of the most impersonal of the women 
sculptors is Miss Abastenia St. Leger Eberle. Her work does not sug- 
gest an effort to overcome a feminine point of view or to ape the mas- 



64 

culine way of achievement. She just seems to present people, little 
children, old beggar women, Indians, more absolutely than individu- 
ally." 

Elliott, Charles Loring, b. Scipio, Cayuga Co., N. Y., December, 
1812 ; d. Albany, N. Y., September 20, 1868. Became a pupil of Trum- 
bull and painted portraits while still a young man; opened a studio in 
New York early in his career. Was elected associate member of the 
National Academy of Design in 1845, and full member in 1846. Is said 
to have painted more than seven hundred portraits of eminent people. 
At the exhibition of the National Academy in 1868-69 many of his paint- 
ings were shown, including: 

''Don Quixote" 

"Falstaff" 

"Andrew Van Corlear, the trumpeter" and 

"The head of Skaneateles Lake," the only landscape he ever painted. 

Tuckerman says: "No one can mistake the rich tints and vigorous 
expression, the character and color which distinguishes Elliott's por- 
traits." 

Elliott stands among the first American portrait painters, especially 
for old and character heads. His portrait of Fletcher Harper is con- 
sidered by artists and critics to be a masterpiece, and the committee 
who selected American pictures to be sent to the Paris Exposition un- 
animously chose it as a typical and clever American portrait. 

Elwell. Frank Edwin, Sculptor, b. Concord, Mass.. June 15, 1858. 
Studied in the United States under Daniel Chester French, and in Paris 
at the Ecole des Beaux Arts and under Jean Alexander Falguiere. Is a 
member of the Institute of France.. Has exhibited in the Paris salon, 
Royal Academy, London, Royal Exhibition, Brussels; Philadelphia Art 
Club and Pennsylvania Academy of the Fine Arts, Philadelphia. 

Enjoys the distinction of being the first American sculptor who 
modeled in America a statue to be erected in Europe. 

Best known works are: 

"Death of strength," a monument at Edam, Holland; 
Bust of Lord Provost of Aberdeen; at Aberdeen, Scotland; 
Equestrian statue of General Hancock, at Gettysburg; 
Monument of Edwin Booth at Mount Auburn, Cambridge, Mass. ; 
Two fountains — "Ceres" and "Kronos" — at Pan-American Exposition; 
Statue of Dickens and Little Nell. Fairmount Park. Philadelphia; 
Busts of Levi P. Morton and Garret A. Hobart in the senate chamber 
at Washington, D. C. 



65 

Was associate editor of the Arena magazine and also compiler of the 
first history of American sculpture. 

At an exhibition of the Cincinnati Art Club, of which Mr. Elwell is 
an honorary member, was shown his bronze statue "The orchid." "A 
beautiful young woman in a dancing attitude is gracefully poised on 
one foot, which hardly seems to touch the earth. The upward action of 
the arms, the spring of the foot and the suggestive airiness of the drap- 
ery all tend to convey the idea that she is of the air, as is the orchid." 
(B. & P. 6:76.) 

Emmet. Lydia Field, Miniature painter, b. New Rochelle, N. Y., 1866. 
Pupil of Bouguereau, Giacomotti, Robert-Fleury, Collin and MacMon- 
nies in Paris ; Chase, Mowbray, Cox and Robert Reid in New York. 
Associate member National Academy Design, 1909. 

Won many prizes and medals. 

"Miss Emmet's color is exquisite and her daring but positive use of 
vermilion is unusual. Nearly eveiw one of her miniatures might be 
called a flower of portraiture, for these dainty things suggest gardens of 
lilies and lilacs. (B. & P. 6:26.) 

Enneking, John Joseph^ b. Minster. O.. October 1. 1841. Was edu- 
cated at Saint Mary's College, Cincinnati, receiving his first lessons in 
drawing from Bishop Roseerans, then principal of the institute. Served 
in the U. S. army during the civil war. Took up mercantile pursuits 
in 1865. Went to Europe in 1872 and studied art with Schleich and 
Lier, Munich, and special figure painting with Bonnat and Daubigny, 
Paris ; later took up landscape under the advice of the latter. Returned 
to Boston, 1874. Has won several silver and gold medals in America. 

He excels in depicting New England landscapes and among his best 
works may be mentioned: 

"Summer twilight" •< alf in the lane" 

"Cloudy day in summer" "The clam-digger" 

"Indian summer" "The brook" 

"November twilight" "Sheep and lambs" 
"December thaw" 

His earlier but much admired works are : 

"Moonlight on the Giudecca. "Farm yard scene in France" 

Venice" ••The Obersee" (considered by 

"Freshly picked" some to be his best) 

9 



6G 

"Mr. Enneking is a colorist, but not a riotous colorist. He does not 

startle, he satisfies He is acknowledged to have created, 

artistically speaking, the "November twilight." 

He is one of the most individual of American painters, and withal 
one of the most developed and rounded of personalities. (B. & P. 
10:335.) 

Frederick W. Coburn says : "His ideal is the picture that shall be the 
perfect expression, not of a locality, but of a thought." 

Ezekiel, Moses Jacob, Sculptor, b. Richmond, Va., Oct. 28, 1844. 
Graduated at the Virginia Military Institute in 1866; studied anatomy 
at the Medical college of Virginia. In 1869 he went to Europe, entering 
the Royal Academy of Art in Berlin and remaining there until 1871, 
working later in the studio of Prof. Albert Wolf. 

In 1872 he was admitted into the Society of Artists, Berlin, on the 
merits of a colossal bust of "Washington," and in 1873 with his "Israel" 
he gained the Michaelbeer prize, a stipendium for two years study and 
residence in Italy. He was the first foreigner to win this prize. 

The Emperor of Germany and the Grand Duke of Saxe-Meiningen 
have conferred upon him the cavalier crosses for merit in art and 
science; the King of Italy bestowed on him the cross of an "Officer of 
the Crown of Italy"; he has won the gold medal of the Royal Associa- 
tion in Palermo, the Raphael medal at Urbino, and is a member of the 
Societies of Artists in Berlin and Rome, and of the Academy of Raphael 
in Urbino. 

Since 1874 he has resided in Rome, where his studio itself is a note- 
able place. 

Mr. Ezekiel's first important work, a marble group representing 
''Religious Liberty" is now in Fairmount Park, Philadelphia. His 
''Thomas Jefferson" is in Louisville, Ky., and a series of eleven statues 
of famous artists, in Carrara marble, decorate the Corcoran Gallery of 
Art, Washington, D. C. 

The development of patriotic themes is a specialty of this sculptor. 
"It is probable that in sounding this greatest and best chord of human 
nature, patriotism. Sir Moses Ezekiel touches and holds his highest 
level." (World's Work, Vol. 19:12255.) 

He has made many busts of beautiful women scattered throughout 
Europe and America, but none really so perfect as that of the Dowager 
Queen of Italy. His "Napoleon" is a notable work. The late F. Mariou 
Crawford called it the history of Napoleon, and Cesareo, the Sicilian 
poet and art critic, writes of it : "Rarely or never has the tragedy of 
Napoleon been signified with more severe sorrow, with such intense 
truth, with more heroic grief, than in the sculpture of Ezekiel." 



67 

Liszt, who had a personal acquaintance with all the best artists of 
Rome, selected Ezekiel to make his portrait-bust for the Academy of 
Music at Pesth. Cardinal Hohenlohe, an intimate friend of Liszt, also 
an authority on art, after having viewed the work critically, turned to 
it again on leaving the room, and said, "Adieu, Liszt! I thus hand thee 
down to posterity." 

An Italian publication, "Publica Opinione," closes a critical review of 
Mr. Ezekiel's works with these words : "We conclude this brief notice 
by expressing our admiration of the great American sculptor in whom 
we feel Italian pride because his genius was cultured beneath our sky, 
and was inspired by our great men to become more great." 

Farny, Henry, a native of Alsace, was born in Ribeauville in 1847. 
His family came to this country in 1853, and later took up their home 
in Cincinnati where his father died in 1865. 

His first efforts in art were decorations on water coolers. After- 
wards became designer for lithographs, one of his widely known pro- 
ductions of that period being a caricature of the escape of Jefferson 
Davis. 

In 1867 he went to New York and entered the employ of Harper and 
Brothers; later worked his passage to Europe in a sailing vessel. In 
Rome he met Regnault, who engaged him to make the sketches which 
appeared in Francis Wey's elaborate work on Rome. 

Being a Frenchman by birth, Farny was admitted to fellowship of 
the French artists in Rome. Went to Diisseldorf, where he became the 
pupil of Munkaczy. Returning to America in 1870, and being unsuc- 
cessful in disposing of his paintings executed abroad, he was compelled 
to gain support by making designs for the large showbills used by circus 
companies. Later gained considerable reputation as a cartoonist. 

1878 in company with Duveneck, Dengler and Twachtman he again 
went to Munich and there gained honorable mention in the competition 
for composition. 

For many years he has been chiefly engaged in Cincinnati in design- 
ing illustrations for school books and magazines. 

Farny has been most successful in his delineation of Indian life and 
character; in this field he has done pioneer work. A popular specimen 
is "Song of the talking wire." 

"The silent guest" is perhaps the best of his works in oil. 

Fisher, Harrison, Illustrator, b. Brooklyn, N. Y., July 27, 1875. 
Manifested his artistic inclinations at the age of six and was early in- 
structed in drawing and painting by his father who was an artist. His 
family removed to San Francisco and he studied at the Johns Hopkins 
Institute of Art. At sixteen he did drawing for a San Francisco news- 



68 

paper. Two sketches accepted by the editor of "Piuck" secured him a 
staff position. Later lie did serial work for the "Saturday Evening- 
Post/' and went abroad for material to furnish the pictorial part of 
some articles for McClure's magazine. He has illustrated for "Life," 
"Ladies Home Journal," Scribner's, etc. 

The creator of the "Fisher girl" it has been estimated has turned out 
of hand more than a thousand studies of the American girl. 

"In a personal way he reflects a boyish sincerity with a philosophic 
regard to essentials." (Bookman, 11:140.) 

Fisher, (William) Mark, b. in Boston of English and Irish parents; 
educated in the public schools; studied art at Lowell Institute, later 
was a pupil of George Inness at Medfleld. Went to Paris at twenty 
and studied in Gleyre's atelier; settled in Boston, but had small success; 
went to England to live where he now is well known as landscape and 
animal painter, exhibiting at the Royal Academy and elsewhere. He 
is very highly regarded in England and his works are in the finest pub- 
lic and private collections. 

Best known paintings are: 

"The meadows" "A Scotch hillside" 

"On the Cam" "Early summer" 

"Noon" "Evening" 
"A canal jump on the Oise" 

George Moore in "Modern painting" says: "Mark Fisher's painting- 
is optimistic. His skies are blue, his sunlight dozes in the orchard, his 
chestnut trees are in bloom. The melodrama of nature never appears in 
his pictures; his lanes and fields reflect a gentle mind that has found 
happiness in observing the changes of the season." 

In January, 1911, Mr. Fisher was elected associate member of the 
Royal Academy, London. 

Forbes, Edwin, Etcher, b. New York, 1839 ; d. Brooklyn, N. Y., March 
6, 1895. Began the study of Art in 1857 and two years later became 
pupil of A. F. Tait. At first devoted himself to animal painting; after- 
wards gave more attention to genre and landscape. During the Civil 
War he was a special artist for Frank Leslie's Illustrated newspaper, 
and his studies of battle scenes were done in etchings, he being the first 
etcher in America. These etchings called "Life studies of the great 
army" have a value as a record of military life during the Civil War. 
General Sherman bought the first proofs of these sketches for the U. S. 
government, and they are now in the War Department, Washington. 

The most noted are : 



69 

"The reliable contraband" "Coming through the lines" 

"The sanctuary" "A night march" 

"Returning from picket duty" "The reveille" 

In New York in 1865 he produced "Lull in the fight," this picture con- 
tains thirty figures and represents a scene in the battle of the Wilder- 
ness. 

In 1878 he established a studio in Brooklyn, N. Y., and devoted him- 
self mainly to landscape and cattle pieces. 

Honorary member London Etching Club. 

Foster, Ben, b. North Anson, Maine, July 31, 1852. When eighteen 
years of age he went to New York where he was employed in mercantile 
business until he was about thirty when he decided to devote himself to 
art. 

Studied with Abbot Thayer and at the Art Students' League of New 
York. Went to Paris in 1886 and continued his studies under Olivier 
Merson and Aime Morot; exhibited in the Paris salon; returned to New 
York in 1887; regularly represented at the exhibitions. Associate mem- 
ber National Academy Design, 1901; full member, 1904. 

Mr. Foster has given much attention to the painting of landscapes 
and sheep; his favorite subjects are night effects and woodland scenes. 
His compositions are marked by a large feeling of unity. "He treats 
a morsel of landscape, but as a part of the big mysterious scheme of 
things." (The Artist 29 :xx.) 

Among his most important works in oil are: 

"A dreary road" "Fontainbleau forest" 

"A Maine hillside" "First days in spring" 

"All in a misty moonshine" "A windy night" 

"The evening star" "Now the day is over" 
"A wet day in the pines" 

Also in water colors: 

"The day is done" "The shepherd" 

"The laggard" 

His painting "Lulled by the murmuring stream," exhibited at the 
Paris Exposition 1900, was purchased by the French government for the 
Luxembourg Gallery. 

In autumn of 1900 he was awarded the silver medal and the $1,000 
at the Carnegie Institute, Pittsburg, for "Misty moonlight," and in 
the spring 1901, at the exhibition of the Society of American Artists, he 
Avas awarded the Webb prize for the most meritorious landscape painted 
by an American. 



TO 

Fournier, Alexis Jean, b. St. Paul, Minn., July 4, 1865. At the age 
of fifteen, ambitious to accomplish something with brush and color, he 
found employment in a Minneapolis sign shop; soon after this he en- 
gaged to assist in scene-painting. In the fall of 1893 he went to France 
and entered the Acadeinie Julien, Paris; studied also under Jean Paul 
Laurens, Benjamin-Constant, Gustav Courtois and Henri Harpignies. 

One of his earliest paintings, "A spring morning near Minnehaha 
Creek" was exhibited in the salon of 1894. Of his last painting ex- 
hibited in the salon and which was hung next to a Gerome, the Figaro 
commenting on its merits, said that it was one of the best paintings 
in the room. 

In the summer of 1907, Mr. Fournier went to the village of Barbizon, 
France, to paint the studios and homes of the great French painters 
known as the "Men of 1830." These canvases, which are full of the 
atmosphere and spirit of the place, are : 

" Studio of Millet" "Rousseau's cottage" 

"Home' of Diaz" "River Oise — Daubigny's house- 

"Dupre's studio" boat" 



"Corot's home" 



Other characteristic works are: 



"Moonlight on the lagoons" "The shepherd's return" 

"Old orchard, Normandy" "Peaceful night, Normandy" 

"When golden evening fades" "Sunset after rain" (particu- 

larly noteworthy) 

His "Crepuscule" exhibited in the Paris salon is called perfect in 
tone. 

"He is not a painter of ideal scenery but a painter of nature, inter- 
preting her moods with true poetic feeling. He believes the mission of 
a painter of out-of-doors is to show Nature in her fine moods — her 
harmony and music, as it were." (B. & P. 4:243.) 

Fowler, Frank, b. Brooklyn, N. Y., July 12, 1852; d. 1910. Pupil of 
Edwin White in America, and Carolus-Duran and Ecole des Beaux Arts 
in Paris. Received bronze medal, Paris Exposition, 1889; bronze medal, 
Pan-American Exposition 1901. Elected a member of the National 
Academy of Design, New York, in 1900; member of the Society of 
American Artists, 1882. 

Specialty, portraits; also a teacher. 

French, Daniel Chester, Sculptor, b. Exeter, N. H., April 20, 1850. 
Was educated in his native town and at Cambridge, Amherst and Bos- 



ton, Mass. At the age of eighteen he began to model and his efforts met 
with encouragement from Louisa M. Alcott who suggested that he seek 
systematic instruction. His first subjects were animals, portrait reliefs 
and busts of friends. He attended Dr. Rimrner's lectures on artistic 
anatomy and studied the antique sculptures in the Boston Athenaeum. 
Is honorary president of the National Sculpture Society. 

Mr. French received his commission for the "Concord Minute-man'' 
when he was twenty-three years of age. This was finished in 1874 and 
he then went abroad for the first time. He studied two years in Flor- 
ence with the American sculptor Thomas Ball. In 1S8G he again went 
abroad, this time to Paris where he drew from the models in the class 
of M. L6on Glaize. Since his return to the United States in 1887 he 
has permanently resided in New York. Received honorable A. M. 
Dartmouth, 1898. Associate member National Academy of Design, 
1900; full member, 1901. 

Busts of Ralph Waldo Emerson and Bronson Alcott, a frieze repre- 
senting Greeks carrying offerings and several portraits in the round, 
low and high reliefs are his early w T orks. 

In collaboration with Mr. Edward Clark Potter, Mr. French has pro- 
duced three equestrian statues of high value : "Washington" presented 
to France by the Daughters of the Revolution, "General Grant" in Fair- 
mount Park, Philadelphia, and "General Joseph Hooker" in Boston. 

Mr. French's monumental architectural reliefs are distinguished speci- 
mens of this new phase of art. "Death and the sculptor" — the Milmore 
memorial — won him a medal in the Paris salon of 1891. The John 
Boyle O'Reilly memorial, Boston, is a work of rare strength and beauty. 
In the "Alice Freeman Palmer Memorial," Wellesley College, executed 
in Carrara marble, the technical details have been rarely wrought. The 
"Gallaudet group" at Washington, D. C, is one of his most pleasing- 
portrait monuments. His imposing "Alma mater" now adorns the ap- 
proach of the Library of Columbia University, New York. 

Other important creations are : A. R. Meyer monument, Kansas City, 
Francis Parkman monument, Boston ; Melvin memorial monument, Con- 
cord, Mass.; Hunt memorial. New York; statues of General Cass, John 
Harvard and Rufus Choate, bust of Phillips Brooks, the well-remem 
bered "Statue of the Republic" at the Columbian Exposition, 1893, and 
the bronze doors of the Boston Public Library. Low relief work is one 
of the final tests of a sculptor's skill, and here Mr. French has shown his 
skill to be quite equal to his refined taste. 

Frieseke, Frederic Carl, b. Owosso, Mich., April 7, 1874. Studied at 
Chicago Art Institute, and in Paris under Benjamin-Constant, Laurens 
and Whistler. Has exhibited in Paris and United States. 

In 1904 one of his pictures was purchased by the French government 



72 

for the Luxembourg Gallery. He is also represented in the Modern Gal- 
lery in Vienna; is the possessor of a gold medal from Munich and won 
a prize from the Corcoran Gallery of Art, Washington, D. C. 

In 1908 he was elected soeietaire of the Society Rationale des Beaux 
Arts, Paris. 

''The Chinese parasol" and '"The girl with bird-cage" are typical ex 
amples of Frieseke's work. 

Other popular paintings are: "The green sash"; "Misty morn." 

"One strong feature, more pleasing in the work of Frieseke than in 
that of many other members of the American colony in Paris, is his 
sense of design and balance." (Int. Studio 43:273.) 

Of his decorations in Hotel Shelbourne, Atlantic City, also of his 
mural painting in the Kodman Wanamaker Hotel and the Amphitheater 
of Music, New York, a correspondent and art critic says : "Frieseke's 
decorations are subdued and harmonious." 

Frost, Arthur Burdett, Illustrator, b. Philadelphia, Pa., January 17, 
1851. He began his career in a wood-engraver's establishment and later 
took up lithography at the same time devoting his evenings to the study 
of drawing. In 1872 he furnished a number of illustrations for "Out of 
the hurly-burly" by Charles Heber Clarke, which was very successful 
and since then he has illustrated works by various authors. Frank B. 
Stockton (whose works he illustrated) said of him. "By nature Mr. 
Frost is essentially a humorist." 

In 1877 he went to England to study and work, but preferring Ameri- 
can life and atmosphere, returned in 1878. 

As a chronicler of phases of American life he has been called the 
Mark Twain of the illustrators. 

"His compositions are apparently done so easily, he realizes his 
scenes as perfectly himself and is so convincing in his placing of the 
accent that one has no hesitation in saying that it is that of a cheerful, 
healthy optimism bred in sunny American country life." 

"In his execution, he relies mainly upon sketches of white paper and 
an equal distribution of parallel-tint and cross-hatch shading." 

"How wonderful it is that week in and week out, drawing a hundred 
landscapes to Ruysdael's one, a hundred tramps to Callot's and Ostade's 
one, he is able to suggest so vividly the effect of sunlight upon distant 
meadow, and the homely poses of what, were America the old world, 
would be called the peasant class." (Knaufft.) 

No one else drawing animals realistically can make them so truly 
funny. (Ind. 59:1397.) 

Fuller, George, b. Deerfield, Mass., January 10, 1822; d. Boston, 
Mass., March 21, 1884. Studied in New York, Boston, London and on 



(6 

the continent of Europe. He was made associate of the National Acad- 
emy of Design, New York, in 1853, but his painting was unremunera- 
tive and on the death of his father he took up farming. After fifteen 
years of farm life, he went to Boston and found purchasers for his 
paintings, meeting with success as a professional artist. 

"The berry pickers" placed him among the first painters of the world 
and to his "Romany girl" he owes his greatest renown. Among his best 
works are: "Winifred Dysart," "Turkey pasture" and "She was a 
witch." 

A memorial exhibition of his works at the Museum of Fine Arts, Bos- 
ton, 1884, comprised 175 paintings, of which the following are best 
known : 

"Cupid" •• Puritan boy" 

"Romany girl" "Fagot gathering" 

"The quadroon" "Arethusa" 

"Nydia" "Negro nurse with child" 

"Turkey pasture" "Shearing the donkey" 

"Pasture with geese" "Maidenhood" 

"Fedalma" "Driving home the calf" 

"Evening— Lorette" "Priscilla" 

"At the bars" "Twilight on prairie" 

"Hannah" "Girl and call" 

"Psyche" and portrait of Henry B. Fuller. 

"Berry pickers" 

"He was preeminently an idealist, possessed of a genius for dreamy 
light effects, somewhat akin to Corot's." (Nat. Cyc. Am. Biog.) 

"The soul of his art was selection . . He believed the province of 
art is to call attention to the beauties of nature, not to insist upon the 

defects, the deformities and the vulgarities of man or nature 

He never painted a brutal head. If he saw brutality he did not like it 
and would not represent it." (F. D. Millet, Harper's 69:517.) 

Fuller, Lucia Fairchild, (Mrs. Henry B. Fuller), Miniature painter, 
b. Boston, Mass., December 6, 1872. Received bronze medal at the Paris 
Exposition, 1900; silver medal at Pan-American Exposition, Buffalo, 
1901. Is member of the Society of American Artists. Was elected as- 
sociate member of the National Academy of Design, New York, 1906. 

Mrs. Fuller stands side by side with Miss Laura Coombs Hills in 
method and in nature of results. "With her women and with her chil- 
dren she swings into play all the tenderness of drawing and all the 
fascination of transparent flesh tones." (Critic 47:524.) 

Her "Mother and child" from a background of blue brocade, beauti- 



71 

ful by age into faded purple .... recalls the feeling that touches the 
heart in Delia Bobbin's babies. (Cent. 60:820.) 

".Mis. Fuller's achievements arc achievements'- and her "Portrait of a 
boy" is splendidly painted, "soft and rich in color and of a simplicity 
equal to the drawings by Routet de Monvel, withal of greater depth." 
(Gardner C. Teall, B. & P. 6:26.) 

Successful imaginative figure compositions are: 

"In the days of King Arthur" 

"The Chinese jacket" 

Her "Artemidora" at the 12th annual exhibition of the American So- 
ciety of Mural Painters, shows a full appreciation of the beauty and 
purity of the material on which the miniaturist works. Alice T. Searle 
says: ''In this nude, a study of a woman's figure of classic beauty in an 
unusual pose, the delicacy and sensitiveness of line in the drawing was 
suggestive of an etching with a slight staining of color over the whole." 

Cay. Walter, b. Hingham, Mass., January 22. 1856. His youthful 
efforts in painting were flower pieces. At the age of nineteen he went 
to Paris and entered the atelier of Leon Bonnat who chose one of his 
life studies to be placed on the wall, where it hung for many years, 
being the only one thus honored. In 1879 he visited Spain and that 
same year exhibited in the salon of the Champs Elysees his picture en- 
titled "The fencing lesson." It was placed on the line. He is a regular 
contributor to the Paris salon. 

Received honorable mention Paris salon. 1885; third class medal 
salon of 1888; gold medal, Vienna. 1893; gold medals Antwerp and Mu- 
nich, 1891; gold medal Berlin, 1896; silver medal, Paris Exposition. 
1900; chevalier of the Legion of Honor, 1891; cross, 1906. Associate 
member SocieVte Xationale des Beaux Arts ; member Societe des Amis 
du Louvre, Paris. His works are hors concours at the Paris salons. 

Mr. Gay paints chiefly the peasants of Western France. 

"Saying Grace" was awarded a gold medal of the third-class, and 
this painting with "Cigarette makers," was purchased by the French 
government for the Luxembourg. 

Other popular paintings are : 

"Young girl with a geranium" "The sewing lesson" 

"Plain chant" "A master stroke" 

''Mass in Brittany" "Knife grinder" 

"The spinners" "Trained pigeons" 

"A weaver" "Conspiracy under Louis XVI" 

Mr. Gay is represented in the Tate collection, London, Metropolitan 



75 

Museum of Art, New York, Museum of Fine Arts, Boston, and in many 
private collections. 

"Through large windows hung with thin curtains, the bright day- 
light falls into the clean rooms of peasants, gleaming on the boards of 
the floor, the tops of the tables and the white caps of the women who 
sit at their work sewing." It is the familiar problem of light. 
(Miither.) 

Gextii, Lillian Matilde. b. 1876. Graduate of the School of Design, 
Philadelphia. Pa., in 1900, (fellowship to Paris) ; studied under Whist- 
ler and at Atelier Colarossi. Won Mary Smith prize, Pennsylvania 
Academy of the Fine Arts, 1904; Shaw prize. National Academy, 1907; 
gold medal American Art Society, Philadelphia, 1907 ; won Hallgarten 
prize on "Depth of the woods." Associate member of National Acad- 
emy of Design, 1908. 

"Birdsong" has been purchased by the Carnegie Institute for the per- 
manent exhibit. "The lark" capably executed and of excellent color, 
won the Shaw memorial prize. "Golden days" is one of her most char- 
acteristic paintings. "Spirit of the earth" and "Sun maiden" are also 
well known. 

Miss Genth makes a specialty of nude female figures, symbolical 
nymphs in sunshine and shadow. 

Gibson, Charles Dana. Illustrator, b. Roxbury, Mass., September 14, 
1867. Began his studies at the Art Students' League of New York at 
the age of seventeen and continued in that institution during 1883 and 
1884. In 1886 he made his debut as an artist for the periodicals, his 
first drawing accepted being "The moon and I" which appeared in 
"Life." Three years later he gave up work and went to Paris where in 
1889 he was enrolled as a student in the Academie Julien. After this 
period of study he resumed work as an illustrator; has a studio in New- 
York. 

In 1893 he went to Paris, in 1895 to London and in 1898 to Munich 
acquiring material for pictures subsequently published. 

"Mr. Gibson is doubtless to be regarded as one of the foremost of 
modern illustrators. His technique is admirable. He works in three 
media — pen, chalk and brush. His versatility, however, is that of ideas 
and not of types. Few artists have acquired equal reputation with as 
few distinct characters. His American girls are one American girl — 
his favorite, and for a certain class of pictures almost his sole female 
model." (B. & P. 7:277.) 

The drawings of Gibson have been characterized as genteel pictorial 
comedy, and probably no happier nor truer phrase could be devised to 
describe them. 



76 

Gifford,, Eobert Swain, b. Naushon Island, Mass., December 23, 1840; 
d. New York, January 15, 1905. Educated in the public schools of New 
Bedford, Mass.; studied painting under Albert VanBeest, Rotterdam, 
Holland; settled in New York in 1860; made sketching tours through 
California and Oregon in 1869, in Europe and North Africa in 1870-71, 
and again in 1874-75 in Brittany and other parts of France. Was 
elected associate member of the National Academy of Design, New York 
in 1867; full member in 1878. Member of the Society of Painter- 
Etchers, London. 

Mr. Gifford's range of landscape is unusually wide ; he has painted the 
heights of the Sierras, the plains of Brittany and coast of New Eng- 
land, as well as Eastern scenes. He is best known through his Eastern 
pictures in which his rendering of Oriental life and atmosphere is pecu- 
liarly happy. 

In 1867 he sent three marine paintings to the National Academy ex- 
hibition, — "Scene at Long Beach,'' "Cliff scene, Grand Menau," "Vine- 
yard Sound light ship," — and on their merits was elected associate mem- 
ber of the institute. 

Oriental paintings: 

"An Egyptian caravan'* "Halt in the desert" 

"Fountain near Cairo" "Entrance to a Moorish house in 

"On the Nile" Tangiers" 

"View of the Golden Horn" "The palms of Biskra" 

"Evening on the Nile" "Scene in the Great Square of 

"Rock of Gibraltar" the Rumeyleh, Cairo, Egypt" 

His autumn landscapes or sketches of shore are rich in harmonies of 
tone. Of his "Woodland pastures," Mr. Gifford writes : "The subject 
is from nature, sketched near my place at Nonquit .... I have painted 
many of my best pictures in this locality." 

"The glen" is an excellent example of his style. His "Near the coast" 
won the |2,500 prize of the American Art Association in 1885. 

Mr. Gifford was one of the best of American etchers and his plates 
have been praised by the most competent critics. Of his "Evening" 
S. R. Koehler, in his work on "Etching," says : "In my humble opinion, 
it is about the completest bit of American landscape etching yet ac- 
complished without loss of freedom or breadth." 

Glackens, William J., Illustrator, b. Philadelphia, Pa., March 13, 
1870. Received early training in Pennsylvania Academy and studied 
scenes and types several years in Europe; exhibited at the Paris salon, 
1896; Paris Exposition. 1900. McClure's sent him to Cuba during war 
with Spain. Has received medals and honorable mention at the exhibi- 



77 

tions of various art societies in this country; elected A. N. A., 1906. 

A revolutionist in art, he is from an American standpoint the first of 
illustrators. The art editor of Scribner's has made his work a feature 
of that magazine's pages. 

"Mr. Glackens seeks for the expression of an idea, for the depiction of 
life in all its teeming naturalness, and the treatment of his subject is 
not considered." "His types are often the growth of an idea. Most of 
them he finds from street observations, using a model only for the 
actual drawing." 

He considers high lights vulgar, and uses mostly the flat tints. 

"His work is distinct and decidedly radical in its purport and incep- 
tion. He may not please the general public, but has won the unstinted 
appreciation of his confreres in art, and of "those who value originality 
and forceful thought." (Bkmn. 11:244.) 

Grafly,, Charles, Sculptor, b. Philadelphia, Pa., December :>, 1862. 
At the age of seventeen he entered a stone-carving establishment in 
order to gain practical knowledge of the sculptor's craft; he remained 
there for five years. Studied modeling and painting under Thomas 
Eakins at the Pennsylvania Academy of the Fine Arts and in 1888 went 
to Paris and entered the Acadeinie Julien and studied in the depart- 
ment of sculpture under Chapu; later studied in the Ecole des Beaux 
Arts. 

Keceived honorable mention in the Paris salon of 1891 ; honorable 
mention Temple Fund, 1892; gold medal of honor, Pennsylvania Acad- 
emy of the Fine Arts, 1899; gold medal Paris Exposition 1900; gold 
medal Pan-American Exposition, Buffalo, 1901. Elected associate mem- 
ber of the National Academy of Design, New York, in 1902, academi- 
cian, 1905. Mr. Grafly is instructor of sculpture in the Pennsylvania 
Academy of the Fine Arts; also member of leading art clubs in the 
United States. 

In the salon of 1890 he made his debut with two heads — "Daedalus" 
and "St. John"; the former was subsequently exhibited in Philadelphia, 
purchased and cast in bronze by the academy and is now in the perma- 
nent collection. His life-size nude female figure "Mauvais presage" was 
accorded honorable mention in the salon of 1891; is now in the Detroit 
Museum of Art. 

Since 1896 he has resided in Philadelphia. 

The most original of his diminutive works is "The symbol of life." 
In the Paris Exposition of 1900 five of his works — "The vulture of war." 
"The symbol of life," "From generation to generation," "Portrait of my 
mother" and portrait of Mrs. Charles Grafly — were exhibited and they 
were awarded a gold medal. 

Lorado Taft savs that there is a leaning towards svmbolism in Mr. 



78 

daily's work — "He seems to think that this is what sculpture is for — 

the expression of one's ideas in form Mr. Grafly lost himself for 

a time in an Egyptian chimera." 

He executed the main fountain "Man" for the Pan-American Exposi- 
tion. Buffalo. 1901. 

Grayson, Clifford Provost, b. Philadelphia, Pa., July 14, 1859. Grad- 
uated from the University of Pennsylvania in 1878. After studying at 
the Pennsylvania Academy of the Fine Arts, he went to Pavis the same 
year and studied in the Ecole des Beaux Arts and in the Atelier Gerome. 
Then he went to Pont Aven and Concarneau where some of his most suc- 
cessful pictures were painted. Subsequently he opened a studio in Paris, 
and became a regular contributor to the salon. 

His first painting shown in the salon of 1882 was "A Breton idyl." 
This was followed by "Going to market." In 1883 his "Rainy day at 
Pont Aven" was hung in a most prominent place on the line and re- 
ceived favorable comment. "Ahoy," was exhibited in the salon of 1884, 
and "Fisherman's family," 1885. "Midday dreams" won .$2,000 prize in 
1886 at an art exhibition in New York. 

Mr. Grayson returned from Europe in 1891 to become director of the 
art department of Drexel Institute. In his work he reminds one of 
Jules Breton. 

Greatorex, Eliza, Etcher, b. Manor-Hamilton, Ireland; d. Paris. 
France, 1897. In 1840 she came to New York with her family, and in 
1849 married Henry W. Greatorex, a well-known musician and organist. 
Beinu early left a widow with three children she made art her profes- 
sion and went to Paris where she studied under Lambinet for a year 
and later at the Pinakothek, Munich. After this period of study she re- 
turned to New York and in 1869 she was elected an associate member of 
the National Academy of Design. New York — an honor which at that 
time only one other woman, Mrs. Bogardus, shared with her; she was 
the first woman to be elected a member of the Artists Fund Society of 
New York. 

It is by her pen-and-ink drawings — a series of pictures of old New 
York — that she is perhaps most widely known. 

In 1873 she determined to take up etching and in 1878 settled in 
Paris and made etching her chief study. In the summer of 1880 she 
went to the valley of the Chevreuse (Seine et Oise) and at Chevreuse 
and Cernay-la-Ville etched directly from nature her "Pond at Cernay- 
le-Yille." Her "Old Dutch church" is most characteristic and at- 
tractive. The work of Mrs. Greatorex is delicate rather than strong 
in its inception as well as in its execution. (Koehler's "American 
etching.") 



79 
She etched her famous plate ''The old Bloomingdale tavern" in 1SG9. 

Green, Elizabeth Shipeen, Illustrator, Studied at the Pennsylvania 
Academy of the Fine Arts, also with Howard Pyle; guided and encour- 
aged in her childhood hy her father, a lover of art, who with her mother 
lives also at the "Red Rose." 

Studied six years abroad. Began by illustrating for advertisements; 
then entered the wider field of drawing pictures for children's poems 
and stories. 

"Her love of the dainty mysteries of elves and fays has free expres- 
sion." Her work appears especially in Harper's. 

Groll, Albert Lorey, b. New York, December 8, 1866. Most of his 
student years were spent in Munich where he studied at the Royal 
Academy. Has been a landscape painter since 1895. A member of the 
National Academy of Design, New York, 1910. 

In his student days he gave much attention to figure painting but 
there came a time when he could not afford models for figure pieces; 
this forced him to find his models in the trees and rivers, hills and fields. 
His earlier pictures are studies of the familiar atmospheric effects of 
dawn, twilight, moonlight, mist, sunrise and starlight as seen at Cape 
Cod, Sandy Hook and in New York City. 

Mr. Groll accompanied Prof. Stuart Culin of the Brooklyn Museum 
of Arts and Sciences on an exploration trip to New Mexico and Arizona 
and the sketches that he made of the Colorado desert furnished material 
for his now noted "desert" pictures. His "Arizona" won the gold medal 
in 1906 at the exhibition of the Pennsylvania Academy of the Fine Arts. 
"It is only a stretch of desert and sky and low-lying hills, but it glows 
like a gem with the indescribable never-to-be-forgotten color of the Colo- 
rado desert.'* (Craftsman 9:S2<1) "The sandstorm" is another remark- 
able production; "The rainbow" still more daring. In "Clouds" he is 
seen at his best. 

He shows the desert in all its moods, — placid and savage, bold and 
mellow. 

"Groll is the musical dreamer in colors." (I. S. 27:lxvi.) 

Gruppe. Charles Paul. b. Pictou, Canada. September 3, 1860. 
Studied in Holland but is chiefly self-taught. Received gold medal at 
Rouen; gold medal of American Art Society in 1902; two gold medals 
in Paris. 

Is a member of the Pulchre Studio, The Hague ; Arti, Amsterdam : 
American Water-color Society. New York; Art Club of Philadelphia: 
New York Water-color Club. 



80 

Guerin,, Jules, b. St. Louis, Mo., November 18, 1866. Going abroad 
after preliminary studies, be entered tbe ateliers of Benjamin-Constant 
and Jean Faul Laurens in Paris. Received bonorable mention at Paris 
Exposition 1900; also bonorable mention at tbe Pan-American Exposi- 
tion, Buffalo, 1901, and silver medal at St. Louis Exposition 1904. 

Mr. Guerin is an architectural draughtsman, a successful decorative 
painter, and a well-known illustrator. In recent publications, be bas 
collaborated with Robert Hichens, the author, using many of his sub- 
jects from Egypt and Palestine. 

Among bis interesting paintings are series of French chateaux, Vene- 
tian scenes, and public buildings of historic interest in the United 
States. 

In estimating the artistic qualities of Mr. Guerin, the International 
Studio says: "He studies a building with the trained and informed in- 
telligence, the assured restraint of an architectural draughtsman of 
the better sort He is careful of design and bold, almost arbi- 
trary in color, conventionalizing like a decorator." 

Gutherz, Carl, b. Schoeftland, Switzerland; d. Washington, D. C, 
February 7, 1907. Came to this country with his parents in 1851 and 
settled in Memphis, Tenn. He became a mechanical draughtsman. In 
1868 he went to Paris and studied art with Cabason and Pils, and later 
with Stallaert and Eobert in Brussels and Antwerp; finally settled in 
Rome in 1871 where he studied with Simonetti. There he executed his 
first important work "The awakening of spring," and on the strength of 
this painting, he was elected in 1872 a member of the Cercle Artistique 
Internationale; after spending some time in Munich be returned to 
United States in 1873 and became associated with Prof. Halsey G. Ives. 
In 1880 Mr. Gutherz married an accomplished and cultured lady of a 
distinguished Alabama family and they soon after removed to Paris 
where they lived until 1896. While in Paris, Lefebvre, Boulanger, Ga- 
briel Ferrier, Jules Breton, Oliver Merson and Puvis de Chavannes 
were among his intimate associates. He exhibited in every salon and 
in 1876 he received a medal from France that rendered bis works hors 
concours in the salon. His work assumed "that dignity and proportion 
of color symphonies, significant in mystic symbolism." Being awarded 
the commission for decorating the ceiling of the Representatives' reading 
room in the Library of Congress, led to bis establishing his home in 
Washington where he was for many years connected with the art de- 
partment of the Washington University. 

His mural paintings in the Library of Congress are seven panels rep- 
resenting "The spectrum of light." He also has a series of mural paint- 
ings in the Peoples' Church. St. Paul. Minn., the theme being to repre- 
sent allegorically life in both the physical and the spiritual worlds. In 



81 

the Courthouse at Fort Wayne, Ind., he has a series of six splendid 
decorative panels. 

In portraiture Mr. Gutherz painted many distinguished men. Among 
his ideal works are the beautiful "Ad angelis" where two angels are 
bearing the etherial body to the realm of light, "The golden legend," 
"Eeco homo," "Sappho" and "Midsummer's night dream." 

Lilian Whiting says: "The story of Carl Gutherz is the story of an 
ideal embraced in youth and followed in manhood with increasing fidel- 
ity. It is the story of a painter whose entire life has been singularly 
responsive to the artist's vision and the poet's dream." (I. S. 24:lxxi.) 

Harrison, (Lovell) Birge, b. Philadelphia, Pa., October 28, 1854. 
Son of Apollos Wolcott and Margaret (Belden) Harrison. Known most 
widely as a painter of snow. Received an academic education. Went 
to Paris in 1876; entered the atelier of Coralus-Duran ; two years later 
entered the Ecole des Beaux Arts and studied under Cabanel for four 
years. Going to Pont-Aven, Brittany, he painted his first important 
picture, "November" which was exhibited in the salon of 1882 and sub- 
sequently purchased by the French government. Associate member 
National Academy of Design, 1902; full member, 1910. 

His work is marked by a love of evanescent effects, — moonrise over a 
majestic shadowy landscape, winter twilight after snow, the harbor 
ice in moonlight. 

Important works are : 

"The return of the Mayflower" ".Moonrise off Santa Barbara" 

"Moonlight on the snow" "Winter sunrise in New Eng- 
"Morning on the Eel river" land" 

•Moonlight on the marshes" "The sentinel" 

"The Flatiron after rain" "The heights of Levis" 

"Sunlight and mist" "Woodstock meadows in winter" 

"The lower town. Quebec" "Road near Santa Barbara" 

"Madison avenue in winter" 

"A writer on his art, a teacher and experimenter, he has played with 
the whole gamut of high and low sunshine on snowy fields." (Innes 
"Schools of painting," p. 375.) 

His paintings are hors concours in the Paris salon. 

Harrison, Thomas Alexander, b. Philadelphia. Pa.. January 17, 1853. 
Son of Apollos Wolcott and Margaret (Belden) Harrison. In 1879 he 
studied at the Ecole des Beaux Arts, also under Bastien Lepage and 
Gerome, Paris. The same year lie joined the colony of artists at Pont- 
Aven. Brittany, and in 1880 he sent his first marine entitled "The Brit- 
11 



82 

tany coast'' to the Paris salon. His first popular success came in 1882 
when he sent to the salon a charming picture called "Castles in Spain." 
In the salon of 1884 he again obtained great success with a marine 
called "Crepuscule" (Twilight). This he followed in the salon of 1885 
with "The wave" for which he received honorable mention, and in the 
salon of 1880 he exhibited "Arcadia" which was later purchased by the 
French government for the Luxembourg. These four mentioned pic- 
tures all figured in the Universal Exhibition of 1880 and represent the 
artist's greatest and most successful efforts. 
Other representative paintings are: 

"The River Loing — evening" "Pebbly beach" 

"Nymph" "Breton garden" 

"Lunar mists" "The amateurs" 

"Shipwrecked" "Marine" 
"Harbor of Concarneau" 

Although demonstrating his ability to paint in many directions it is 
mainly by reason of his great power as a painter of the sea that Mr. 
Harrison's reputation stands, and in this work none approaches him in 
the delineation of light and movement and color of wave forms under 
sky effects . . . "Very notable is the hue of the foam and curdle, not 
white but an attenuated tone of the same blue which pervades the mass 
of water." (B. & P. 4:133.) 

"Of all American painters of the sea, Alexander Harrison is ... . 
the most scholarly." (Caffin.) 

"The key note to Mr. Harrison's art is truth to nature; he is a dis- 
ci] tie of the plein air movement and of the evolution which was deter- 
mined in French art by Manet." 

He has a studio in Paris where he has large classes of students. 

His paintings have obtained for him medals and prizes in Paris, 
Munich, London, New York and Philadelphia. Ls a member of popular 
art clubs in Paris. Munich, London, New York and Philadelphia. Was 
elected associate member of the National Academy of Design, in 1898 ; 
full member in 1901. 

Hassam, Childe, b. Boston, Mass., October 17, 1859. Educated in 
Boston public schools and studied art in Boston and Paris, 1880-9. Is 
the best known follower of Monet in this country — our foremost impres- 
sionist since the death of Theodore Robinson. 

Has been singularly successful in competition, winning medals in 
Paris, Munich, Chicago, Philadelphia, Pittsburgh, Buffalo and St. Louis, 
and awarded prizes by many American art clubs and societies. He is a 
member of the "Ten American Painters," Societe Xationale des Beaux 



83 

Arts, Paris, and "The Secessionists," Munich, and National Academy of 
Design, New York. 

"Subjects" he says, '"suggest to me a color scheme, and I just paint; 
some one else might see a riot of color where I see only whites or drabs 
and buffs." 

"June" is one of his prize paintings. Other well-known works are: 

"Isles of Shoals series" "The green, New Haven" 

"Paris— winter" -Winter nightfall" 

"Inner harbor — Gloucester" "Plaza Centrale — Havana" 
"Rue Lafayette on a winter even- "Cat boats — Newport" 

ing" "The abilone shell" 

"The Chinese merchants" "Summer sea" 

"North shore, moonlight" "Penelope" 

"October haze, Manhattan" "Lorelei" (prize painting) 

"Improvisation'- is a reverie in color based upon wistful expectancy. 
Its technique is mature and the sentiment unusually attractive and 
sincere. 

"He is primarily a great painter of air and soil, sea and sky. He 
feels the repose and beauty, the strength and immensity of nature in 
the simplest scenes. He has a definite aim, and every picture brings 
him nearer the goal." (I. S. 29:267.) 

"When Coquelin. the French actor, was in America he bought two of 
Hassanrs impressionistic canvases to take back with him to France, 
declaring at the time of purchase that the artist was the most able im- 
pressionist painter. The compliment was not ill-advisedly spoken and 
Hassam will easily maintain the rank assigned him." (Frederick W. 
Morton.) 

Kenyon Cox says : "With Mr. Hassam the subject matters nothing. 
Whether he paints the sea or the land, the cool nudity of white nymphs 
among rose-tinted laurel-blossoms or the canyons of lower New York, his 
art is of the same quality; and it is the freshness and vigor of his ob- 
servation, the solidity of his design, his sparkling light and color and 
the deft embroidery of his touch that inevitably attract and delight us." 

Healy, George Peter Alexander, b. Boston, Mass., July 15, 1813; 
d. Chicago, 111., June 24, 1894. At the age of sixteen he began to copy 
prints and make likenesses of all who would sit for him. His first suc- 
cess was a copy on canvas of Guido Reni's "Ecce homo" which a Catho- 
lic priest purchased for flO and placed in his church. He studied in 
Paris in 1830; went to Chicago in 1858; revisited Europe in 1869 and 
resided long in Rome. While in Rome painted portraits of Longfellow, 
Pope Pius IN, Princess Oldenberg and other distinguished persons. He 



84 

also painted the portraits of Louis Philippe, Guizot, Thier, Gainbetta, 
Webster, Clay, Lincoln and Grant, and many hundred more distin- 
guished persons. The number of portraits that he painted was enor- 
mous. 

At his best, his heads are strong, dignified and characteristic. 

He also produced large historic pictures, his "Franklin before Louis 
XVI," won the third-class medal at the Paris salon in 1840 and his 
"Webster's reply to Hayne" now hangs in Faneuil Hall, Boston. 

Henri, Robert, b. Cincinnati, O., 1865. Received his education in the 
western cities and in New York. Studied art in the Pennsylvania Acad- 
emy of the Fine Arts, also studied without instructions for years in 
France, Spain and Italy. Has exhibited at Paris salons and won several 
prizes at competitive exhibitions in United States. Member of the Na- 
tional Academy of Design, New York, since 1906. 

"The snow" was purchased in 1899 by the French government for the 
Luxembourg. "Girl in white waist" was purchased by the Carnegie In- 
stitute, Pittsburgh, for the permanent collection. 

Other pictures are: 

"Girl with red hair" "Little girl holding her hat" 

"Happy Hollander" 

Isham says: "Mr. Robert Henri is the most characteristic of the 

younger group of painters his best works are from carefully 

chosen models His girls are modern, complex and rather mys- 
terious. His workmanship is broad and sure, insistently masterly, with 
great richness of surface and harmony of tone in the simple scheme of 
black and white and flesh color." 

Hartmann says of Henri : "A street scene painter whose aim is rather 
to seize the mystery, the passion, the despair as well as the gaiety of a 
modern metropolis, than to describe its merely topographical features." 

"Woman with cloak" is much admired by the artistic few; its soft 
and harmonious background suggests Whistler. (B. & P. 4:200.) 

Higgins, Eugene, b. Kansas City, Mo., February, 1874. Attended the 
art school in St. Louis, Mo., and later studied in Paris under Laurens, 
Benjamin-Constant, Gerome and the Ecole des Beaux Arts. 

Poverty is Mr. Higgins' art inspiration and he is called the Maxim 
Gorky of painting. 

His mother died when he was four years of age and he thenceforth 
lived in cheap boarding houses with his father who was a stone-cutter 
by trade. Here "he came in close contact with types of dissolute and 
luckless humanity, such as he now loves to paint." 



85 

When a lad of twelve, an article on Millet gave him his first impulse 
to be a painter. Millet and Victor Hugo have largely moulded his 
entire life. 

During his sojourn in Paris his paintings were shown in the exhibi 
tions of the American Art Association and a few of his works were well 
hung in the New Salon. He returned to the United States in 1904. 

John Spargo, in the Craftsman 12 :141, says : "The question has been 
raised whether such subjects as Mr. Higgins chooses are suited to the 
medium of canvas and paint or whether they do not belong rather to 
literature." 

He portrays the pathetic, the helpless, the ruined, the despised and 
the rejected of humanity. 

Hills. Laura Coombs, Miniature painter, b. Newburyport, Mass., 
September 7, 1859. Pupil of Helen M. Knowlton, Art Students' League 
of New York and Cowles Art School in Boston. 

Received medal at Paris Exposition, 1900; second Corcoran prize, 
1901; silver medal Pan-American Exposition, Buffalo, 1901; associate 
member National Academy, 1906; vice president American Society of 
Miniature Painters and the first miniature painter to be elected to the 
Society of American Artists. Although never taught miniature paint- 
ing, Miss Hills is recognized as a most skilful miniature painter and has 
gained honors both at home and abroad in this particular form of art. 

Her first exhibit was "Seven pretty girls of Newburyport." "The 
bride" a harmony in gray, gold and blue, was one of the most evanes- 
cently delicate pieces at a recent exhibition. "The black mantle," "Fire 
opal," "Butterfly" and "Goldfish" represent the most modern develop- 
ment of all, the essentially pictorial miniature. In these fanciful sub- 
jects she takes a place among colorists of the first rank. Her miniature 
of "Alice Brown" is full of insight and penetration; the portrait of 
Mr. Arthur Harlow has all the breadth and dignity of a large portrait 
with the charm peculiar to the miniature; the charming little head of 
Dorothy S. is frank and altogether lovely; the portrait of little Miss 
Hale is as wholly delightful a child portrait as one could ask. (I. S. 
41:xlvi.) 

Frances Duncan in writing of Miss Hills' work said: "Her portraits 
arc not large portraits done small, but essentially miniature: they have 
that exquisite jewel-like quality peculiar to the miniature in the hands 
of the few masters of this exquisite and lovely art, the quality which 
will make miniature painting a thing apart." 

"She understands the emotion of color and by a graceful dexterity 
masters its adaptation to its subject." (Critic 47:523.) 

The portrait of Master Donald Moffat was 1he chef d'oeuvre at a 
recent exhibition of the Miniature Societv. 



86 



Alice T. Searle says: "Miss Hills is never dull but in the center one 
of her group of three ovals [at a recent exhibition] the portrait of Miss 
Tsobel da Costa Green— she outshone her own brilliant past." 

Hitchcock, George, b. Providence, R. I., September 29, 1850. Gradu- 
ated from Brown University in 1872 and from Harvard Law School in 
1874; admitted to the bar both in Providence and in New York, he re- 
mained in the law until twenty-nine when he definitely gave over juris- 
prudence for the palette. Was a pupil of Lefebvre and Boulanger in 
Paris, and of H. W. Mesdag at The Hague. An academic painter in 
Paris and a marine painter under Mesdag. Mr. Hitchcock did not really 
discover himself until he found the tulip fields of Egmond, near Amster- 
dam. 

Received honorable mention in Paris salon of 1887; gold medal of 
American Art Association, New York, 1887; gold medal, Paris Exposi- 
tion, 1889; medals at Berlin, 1896, Dresden, 1897, Vienna, 1898, Munich, 
1900; Member of Munich Secessionists, Paris Society American Paint- 
ers, Vienna Academy, officer in Order of Franz Josef. Associate mem- 
ber of National Academy of Design, New York, in 1909. 

His "Tulip-growing" was the foundation of his reputation in the salon 
of 1887. He has become one of the most colorful and characteristic 
painters of Holland. 

Mr. Hitchcock prefers Holland in one mood. "Holland flooded in 
sunlight and covered with a multi-colored floral carpet is the Holland 
Mr. Hitchcock puts on canvas." "A figure painter quite as unmistake- 
ably as a landscape painter, he combines both elements on even terms." 
(Cent, 48:318.) 

Among the most engaging of his compositions are : 



''The mob cap" 

"Hyacinths" 

"Maternity" 

"The epitome of Holland" 

"Flower girl in Holland" 



"Easter Sunday" or "In Bra- 
bant" 
"Holland morning" 
"The annunciation" 
"Si. Genevieve" 
"The flight into Egypt" 



Homer, Winslow — "The painter of seclusion" — b. Boston, Mass., Feb- 
ruary 24, L836; d. Scarborough, Maine, September 29, 1910. At the age 
of nineteen he entered the employ of a lithographer in Boston. In 1859 
he settled in New York, studying in the school of the National Academy 
of Design and under F. Rondel. He was elected associate member of the 
academy in 1864; academician in 1865. 

During the Civil War he was special correspondent and artist for 
Harper, and his first works in oil which brought him prominently be- 



si 



fore the public as an artist were "Prisoners from the front," "Home, 
sweet home," "Zouaves pitching quoits." Then came studies of negro 
life and character, his "Visit from the old mistress" being one of the 
best pictures of negro life. Later he painted the landscape of the 
Adirondack^, then the seafaring people of the New England coast whose 
life he has interpreted with remarkable poetry and understanding. But 
it is in his delineation of the ocean, however, that Homer's genius 
reached its greatest heights. 

"It is not the charm of the ocean that he paints. The mood in which 
he excels is morose, — it is threatening, lowering, savage." 

"He is unquestionably the most strictly national painter America has 
produced, and for that reason he is one of the greatest, if not the great- 
est. His sea is the watery waste, an expression of tremendous force, 
mystery, peril ; liis landscapes are redolent of the primeval forests of the 
new world, its bleak liills, its crags, his men and women are pioneers, 
fishermen, seafaring folk." (B. & P. 10:40.) 

"Cannon rock" is one of his greatest works; "Gulf stream" and 
"Undertow" are strongly dramatic. 

He has made delightful records — joyous and brilliant notes — of his 
trips to the Bermudas and Bahamas in a group of water colors. 

Among his marine masterpieces are : 



"A light on the sea" 
"The breaker" 
"The wreck" 
"Watching the breakers- 
sea" 
"The life line" 



-a high 



"< >n a leeshore" 
"The lookout— All's well' 
•A summer night" 
"The fog warning" 
"Kissing the moon" 
"A summer squall" 



Other popular paintings 

"Eight bells" 
"As you like it" 
"Sunday morning" 
"Uncle Ned at home" 
"In charge of the baby" 
"The blackboard" 
"The trysting place" 
"The busy bee" 
"Dad's coming" 
"The fisher girl" 
"The dinner hour" 
"Course of true love" 



"In the fields" 

"The gardener's daughter" 

"In the garden" 

"Four-leaf clover" 

"The bright side" 

"School time" 

"Milking time" 

"Fly fishing" 

"After the bath" 

"The American type" 

"Flow T ers for the teacher" 

"High cliff, coast of Maine" 



"Winslow Homer is an, absolutely original and national artist; he 



88 

is the first exponent of pictorial art in the new world. He presents the 
unique phenomenon of an American painter whose w r ork has in it not 
the least scintilla or hint of Europe or of Asia." (B. & P., 10:40.) 
(I. S. 34:cxxv.) 

Hornby, Lester G., Etcher. Began to etch in This country and pro- 
duced many plates descriptive of New England before he went to Paris 
in 1906. He has traveled much in foreign lands and has been a regular 
exhibitor at the Salon des Artistes Francais, and at many of the leading- 
art exhibits held throughout Europe. 

Among his most attractive plates are those made in Tunis during the 
winter of 1908. 

"Story teller" ''Passage Arabs" 

"Vegetable dealers" "Marabout tombs" 

"The musicians" 

His French plates are enthusiastically regarded by those who love 
Paris : 

"Pont Xeuf (rainy da\ |" "The old court in Rue Vercinge- 

"Buildings of the Quai" torix" 

"L'Hiver an Jardin du Luxem- "St. Nicholas des Champs" 

bourg" "Little balconies" 

"< 'our des Reines" "Boulevard de Montparnasse" 

"La lettre d' Amour" 

Light heartedness of the Paris of the Boulevards, melancholy beauties 
of the Old Quarter, and the mystery which pervades the life of the far 
East are interpreted with equal facility. The "Lady aux Ambassa- 
deurs," the "Model," "A la gaite, Montparnasse" give evidence of wide 
versatility. 

It is in comprehensive outlook that much of the strength of Mr. 
Hornby's plates lie; this keen interest of the life of the people com- 
bined with forceful powers of expression are the qualities that combine 
to make the great etcher. 

Hosmer, Harriet, Sculptor, b. Watertown, Mass., October 6, 1830; d. 
Watertown, Mass., February 21, 1908. Received her education in Lenox, 
Mass. Displayed a taste tor art at an early age and studied drawing 
and modeling in Boston. In 1852 with her father and Charlotte Cush- 
man she look passage for h.ily. In Rome she became the pupil of the 
English sculptor Gibson with whom she remained seven years. 

Her first works were ideal heads — "Daphne" and "Medusa." They 
were exhibited in Boston in 1853 and highly praised by critics and con- 



89 

noisseurs. Her "Beatrice Cenci" lias much grace and its beauty is of a 
very intelligible kind; it is now in the Public Library of St. Louis. 
"Puck" was so popular that thirty copies of the original were made. 
The Prince of Wales and the Duke of Hamilton each ordered a copy. 
Its companion piece, "Will-o'-the-wisp" is pretty and fanciful. 

Nathaniel Hawthorne speaks of Miss Hosmer's "Zenobia" as "a very 
noble and remarkable statue indeed, full of dignity and beauty." 

Jarves, in his "Art idea," says: "She (Miss Hosmer) has no creative 
power, but has acquired no small degree of executive skill and force." 

Hartmann says : "Miss Hosmer owed her success largely to her sex 
for until this century it had been exceedingly rare to see a woman 
modeling clay and chiseling marble." 

Miss Hosmer made a number of discoveries and inventions, includ- 
ing a process of giving Italian limestone the hardness of marble. 

H.ovenden, Thomas, b. Dunmanway. Ireland, December 28, 1840; was 
killed on August 11, 1S95. in an unsuccessful effort to save an unknown 
child from being killed by a railway train. He studied in the Cork 
School of Design. Came to the United States in 18G3 but it was not 
until 1872 that he began to follow art as a profession. In 1874 he went 
to Paris and entered the studio of Cabanel where he remained until 
1880 Avhen he returned to the United States. He was elected associate 
member of the National Academy of Design, New York, in 1881; acade- 
mician, 1882. 

His first notable painting was a "Breton interior of 1793." "Break- 
ing home ties" was one of the most popular paintings at the Columbian 
Exposition, 1893. "Last moments of John Brown" which hangs in the 
Metropolitan Museum of Art. New York, is an especially characteristic 
canvas. Critics concur in esteeming "Elaine" as his masterpiece. 
"As a powerful allegorical picture it stands unrivaled among the pro- 
ductions of American genius." 

Popular paintings are : 

"Jerusalem the golden" "Thinking of somebodj'" 

"The two lilies" "News from the conscript" 

"A Brittany woman spinning" "Pride of the old folks" 

"Pleasant news" "Peasant soldiers of La Vendee" 
"The image seller" 

His is the storytelling picture and the story is told clearly and beauti- 
fully. 

Howe, William Henry, b. Bavenna, 0., 1846. Pupil of Otto de 
Thoren and F. de Vuillefroy in Paris. Received honorable mention, 
New Orleans. 1885; honorable mention, Paris salon, 188G ; third-class 



90 

medal, Paris salon. L888; silver medal, Paris Exposition, 18S9; Temple 
gold medal Pennsylvania Academy of the Fine Arts, 1890; grand medal, 
Crystal Palace, London, 1890; officier d'Academie, Paris, 1896; cheva- 
lier Legion of Honor, 1899 ; member of National Academy of Design, 
New York, 1897. 

Mr. Howe has won fame as the painter of landscapes with cattle. His 
earlier work shows strongly the influence of such masters as Van 
Marcke and Tryon. His later work is of rare quality and possesses a 
distinct personal style. 

Among his best known paintings are: 

"The truants" "Korten Hof meadows" 

"In the orchard" "Cattle at rest" 

"Morning" "Returning from the heath*' 

Humphreys, Marie Champxey. Miniature painter, b. Deerfield, Mass., 
L867; d. New Rochelle. N. Y., December 1, 190G. Was married Novem- 
ber 22, 1899, to John Stanford Humphreys. 

Was a miniature painter. Exhibited in Europe and America. 

Hunt, William Morris, b. Brattleboro, Vt, March 81, 1824; d. Apple 
dore, Isles of Shoals, N. H., September 8, 1879. He began his art studies 
in the Royal Academy, London, and later went to Diisseldorf. Origin 
ally he intended to become a sculptor but abandoned this design and 
studied under Couture in Paris. While in Paris he was brought into 
intimate relations with Diaz, and at Barbizon was associated with 
Millet. In 1855 he returned to United States and settled in Boston. 

The present admiration in this country for modern French art can 
be directly traced to his advocacy. In his art he liked better to sug- 
gest fomi than to portray it with strong outlines. 

He painted many portraits of noted people and also made many 
original sketches of types of Parisian life; among them, "The street 
musician;' "Girl at the fountain," "Child selling violets." 

Among his more important works are : 

"The drummer boy" "Bugle call" 

"Boy chasing a butterfly" "The Marguerites" 

"The morning star" "The belated kid" 

"Girl reading" "Girl with cap" 

Of Mr. Hunt's "Bathers" a well-known connoisseur has said: "It is 
one of the three or four paintings of the nude in the nineteenth century 
which a Greek would have understood and admired." 

In 1878 his mural paintings were put up in the Senate Chamber in 



91 

the Albany state house, and in this work — "Flight of night" and "The 
discoverer," he had a true conception of mural painting. 

Hunt's place in art can never be overestimated for his power of per- 
sonality made him exert tremendous influence on the students that 
flocked around him. 

Hutt, Henry, Illustrator, b. Chicago, 111., December 18, 1875. After 
a short season in instruction at the Art Institute of Chicago, he opened 
a studio in New York City, his commissions warranting the step. His 
first important undertakings were the illustrations for a continued story 
for the Saturday Evening Post; has illustrated many leading magazines 
and periodicals, books, etc. 

Mr. Hutt likes women and children for his subjects, depicting them 
with finesse and daintiness of execution. His characters suggest spon- 
taneity and human naturalness but they are usually in a setting too 
decorative for reality. 

"His line is quaint and often whimsical with an almost picturesque 
ensemble, and he conveys his interpretation with sentiment and a re- 
dundant sense of beauty." 

"He makes clothes tell their portion of the story, but perhaps he is 
more an apostle of the well-dressed than is Mr. Fisher." (Bkm'n 11:140. 
Bkbuyer 22:22.) 

Hyatt, Anna Yavuiian, Sculptor, b. Cambridge, Mass., March 10, 
1876. Pupil of Henry Hudson Kitson and Art Students' League, Yew 
York. 

A musician — an artistic performer on the violin — during an attack of 
nervous prostration. Miss Hyatt found recreation in modeling clay. 
This diversion was the means of her abandoning her musical career, f.or 
upon recovery of health, she chose sculpture for her life work. Wild 
animals are her specialty, she being the only American woman sculptor 
who studies nothing but animals. 

"She divides her time about equally between horses and jungle beasts, 
and has exhibited many groups of elephants, tigers and lions which 
show not only breadth and depth of feeling but much strength in exe- 
cution." 

Among other things Miss Hyatt has restored prehistoric animals for 
the Brooklyn Museum. 

Her most important bronzes are: "Winter," "A steep grade," "Colts 
playing," "Goats butting," etc. 

Miss Hyatt has collaborated with Miss Abastenia St. Leger Eberle 
another American young woman who has abandoned music for sculp- 
ture. Their first group, "Men and bull" was awarded a medal at the 



92 

St. Louis Exposition; "Boy and goat playing" is another fine group 
done in collaboration. (Craftsman 8:623.) 

Hyde, Helen, Etcher, b. Lima, N. Y., April 6, 1868; pupil of Emil 
Carlsen in New York; Raphael Collin in Paris, Skarbina in Berlin, and 
Kano Tomanobu in Japan. Specialty: Japanese subjects in colored 
wood blocks and etching. 

Among the artists in Europe and America who have adopted the 
Japanese form of art for the expression of their own ideas, Miss Helen 
Hyde, a gifted young American, takes high rank. After devoting two 
years to the task of acquiring the Japanese method of wielding the 
brush she was rewarded when her Japanese master asked her to paint a 
kakemono for the annual spring exhibition. She did so, calling her 
picture "A monarch of Japan." This picture was awarded first prize 
on the strength of excellent handling of a particularly difficult brush 
— for it is by the merits or demerits of skilful brushwork that Japanese 
pictures are chiefly valued. 

Miss Hyde reproduces her compositions in the form of color prints, 
and has become famous in this field of art. 

A few of her popular prints are: 

"Secrets" "A snowy day in Japan" 

"The lucky branch" "The bamboo fence" 

"The mirror" "Belated" 

"Happiness flower" "The blossom child" 

"The greeting" "Day dreams" 

"Baby and toy" "Baby San" 
"Rainy evening" 

One of Miss Hyde's most successful etchings is "Little cherry blos- 
som." 

"Perhaps the greatest triumph in Miss Hyde's work lies in the suc- 
cessful rendering of atmosphere which is delicately suggestive of the 

flower-blossom country In "The rainy day" we have this 

quality at its best." (I. S. 24:239.) (B. & P. 11:241.) 

Inman, Henry, b. Utica, N. Y., October 20. 1801; d. New York. Janu- 
ary 17. 1816. He displayed talent for art as a lad but he inclined to a 
military career and had secured a commission to enter the West Point 
Academy when he saw West mailer's famous "Danae" in the studio of 
John Wesley Jarvis in New York. He immediately presented himself 
as a candidate for artistic instructions; was accepted and studied with 
Jarvis several years. For years he executed miniature, cabinet and 
life-size portraits, practiced lithographic drawing and sketched scenery 



93 



with rare assiduity and success. Was one of the founders of the Na- 
tional Academy of Design in 1825 and was elected its first vice presi- 

*Mr Inman went to Europe in 1845 and while in England painted the 
portraits of Wordsworth, Macauley, Dr. Thomas Chalmers and others; 
returning to America he also painted the portraits of many distin- 
guished persons. 

His landscapes and genre compositions include: 

"Scenes from the Bride of Lam- "The news boy" 

mermoor" '"&* brothers" 

"Rvdal Falls, England" -Woodland scene" 

"Mumble-the-peg" "Rip Van Winkle " . 

-The sisters" "Boyhood of Washington 

-Ruins of Brambletye house" "Lake of the Dismal swamp 

"Birnan wood" 

"In his happiest efforts at portraiture, wherein there was great in- 
equality viewed as a whole, Inman has been compared to Sir Thomas 
Lawrence: his rapidity of execution was uncommon; a "delicate mot 
tffng" was often admired in his color, a completeness and neatness of 
style in his landscapes, and skilful manipulation in the works under- 
taken co, amove, while it is conceded that he was the first American 
artist who attempted genre with success/' (Tuckerman.) 

Inness, GEORGE-"The painter of moods"-b. Newburg N. Y, May 1, 
1825- d Bridge of Allan, Scotland, August 3, 1894. At the age of s x- 
ecu he San to study engraving in New York; studied art in the 
studio of Regis Gignoux, New York; in 1846 he began the practice of 
anaseape pamting and in 1850 went abroad where he became acquainted 
wmi Corot and Rousseau, and enjoyed, for a time, the close compamon- 
sh in of Millet He is generally considered our greatest landscape 
paler. American sunset" was selected in 1867 by the Paris salon as 
a representative work of American art. He was elected member of the 
National Academy of Design, New York, in 1868. 

"With him the inspiring idea is principal, form secondary bemg he 
outgrowth of the idea. His pictures illustrate phases of mmd and 
feeCr He uses nature's forms simply - language to express 

thought." (Tuckerman.) 

" nness was a master of atmosphere, and added the poetry of color o 

the perfection of drawing He idealized all his creations with 

malal light effects. Such deep luminous lights had never been seen 
before on American canvases." (Hartmann.) 

"Moonlight" fully represents Inness idea of the night. He had a 





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GEORGE INNESS. 



95 

strong leaning to the occult and many of his paintings have a spiritual 
and allegorical significance. Inness' paintings stand in American art 
where those of Rousseau and Oorol do in that of France." (Nat. Cyc. 
Am. B.) 

"Inness gives with equal felicity the drowsy heat, hot shimmer and 
languid qniet of a summer noon, or the storm weighed atmosphere; its 
dark masses of vapor and the wild gathering of thunder clouds with 
their solemn hush before the tempest breaks. He uses sunlight spar- 
ingly, but it glows on his canvas and turns darkness into hope and joy." 
(Jarves "Art idea.") 

"Delaware valley'' is considered by many to be his masterpiece. 

Arthur Hoeber says: "At his [Inness'] best he yields to no man in 
his profession as an interpreter of nature out of doors." 

Van Dyke says : •■Inness is more allied to Oorot than to Meissonier. 
He never was the perfect master of the brush that we have heard him 
called, though he was an acceptable and often a very satisfactory tech- 
nician It was with color, light and air that Inness scored liis 

greatest success." 

"His subjects are related to human life and possibly our interest in 
his pictures is due to the fact that he shows thoughts, emotions and 
sensations comprehensible of humanity. . . ." 

"Inness must be ranked here as the discoverer of the American 
meadow and woodland — a new realm of beauty. It is possibly his most 

lasting title to fame And Inness found all the material 

he needed within fifty miles of New York. It was the original dis- 
covery of this material, his point of view regarding it, what he did with 
it and what he made us see in it, that gives him high rank in the history 
dl' American painting." 

A list of Inness' principal paintings in public collections, also biblio- 
graphy and magazine article references are given in "Masters of Art." 
(Vol. 9.) 

Inness, George, Jr v b. Paris, France, January 4, 1854. The son of 
George Inness. Was a pupil of his father in Rome, 18704 : studied one 
year with Bonnat in Paris. Obtained gold medal in Paris salon 1899; 
also gold and silver medals at various exhibitions in United States. Has 
a studio in New York. Devotes himself to animal painting. Has ex- 
hibited at the National Academy of Design. New York, since 1877. when 
he sent "The ford" and "Patience." 

A few of his paintings are : 

"Monarch of the farm" -At the brook" 

"The pride of the dairy" ••Abandoned" 

••Waiting for the master" "Maternity" 
"New born lamb" 



96 

Member of the National Academy of Design, New York, since 1899; 
and of the French Academy since 1902. 

Of his landscapes and atmospheric effects, Mather says : ''The younger 
Inness has a fondness for departing thunder showers, rainboAvs and 
misty red sunbeams penetrating in the form of wedges through a sea of 
mist, and resting upon stony fields." 

Ives. Percy, b. Detroit, Mich., June 5, 1864. At the age of eighteen 
he entered the Pennsylvania Academy of the Fine Arts. In 1885 he 
visited Europe, spending six months traveling in Scotland, England, 
the Netherlands, Germany and Italy. He studied three years at the 
Academie Julien, Paris, under Boulanger, Lefebvre, Benjamin-Constant 
and Cormon. After a second visit to Paris in 1890 he was appointed 
dean of the Detroit Museum of Art. In 1893 he studied at the Ecole des 
Beaux Arts under Gerome and in the same year exhibited at the salon. 

Beturning to Detroit in 1895 he resumed his position at the Museum 
of Art, since which time he has painted the portraits of many distin- 
guished Americans; has also done some landscape work. 

Mr. Ives was one of the organizers of the Society of Western Artists 
and is an incorporator and trustee of the Detroit Museum of Art. 

Johnson, Eastman, b. Lovell, Maine, July 29, 1824; d. New York. 
April 5, 1906. As a young man he began the practice of his profession 
by the execution of portraits in black and white, showing considerable 
skill and meeting with some success. 

In 1849 he went abroad and shared the studio of Emanuel Leutze at 
Diisseldorf, Prussia. He studied art four years at The Hague and then 
proceeded to Paris. Beturned to United States in 1856. 

His first important works were u Card players" and "Savoyard boy." 
He opened a studio in New York upon returning to the United States 
and was made a member of the National Academy of Design, New York, 
in 1860. Here he painted those pictures of American domestic and 
negro life in which he so decidedly excelled. In accurate delineation of 
character "The old Kentucky home" is hardly surpassed. 

Tuckerman says: "In his delineation of the negro, Eastman Johnson 
has achieved a peculiar fame. One may find in his best pictures of 
this class a better insight into the normal character of that unfortu- 
nate race than ethnological discussion often yields." 

He was a power in American art life to the very last. He painted 
a large number of portraits, and his self-painted portrait, painted in 
1899, is technical ly superior to anything executed by him during the 
first fifty years of his life. (Artists of the Nineteenth Century.) 

Johnson, Marshall, b. Boston. Mass.; pupil of the Lowell Institute; 



97 

member of the Boston Art Clnb and Copley Society. Address: 1S4 
Boylston Street, Boston, Mass. 

Painter of "United States Frigate Constitution." 

Johnston, John Humphreys, b. New York, November 2. 1857. 
Studied art under John LaFarge. In 1899 went to Paris where ne 
studied under Lefebvre and Doucet. and later to Madrid. Has resided 
mainly in France and Italy since, and has a studio in Venice. 

One of his pictures, "Domino Rose" is now owned in France, and the 
portrait of his mother is in the Luxembourg. "Light nights in Norway" 
and "Mystery of the night" are characteristic paintings. 

In 1898 he painted the portrait of Sarah Bernhardt as "Lorenzaccio" 
and the "Vision of St. Paul at Lystra." Spain and Brittany have fur- 
nished many of the subjects he has used. 

Mr. Johnston was made a chevalier of the Legion of Honor in 1901. 
Is associate member of the Societe Natiouale des Beaux Arts, Paris and 
International Society of Painters, Gravers, etc., London. 

Jones, Hugh Bolton, b. Baltimore, Md., October 20, L848. Studied 
art in France. Received bronze medal at Paris Exposition L889; bronze 
medal at Paris Exposition 1900; Webb prize Society American Artists 
1902; Shaw fund prize 1902; gold medal at St. Louis Exposition 1904. 
Is a member of the National Academy. Specialty, landscape. 

Visited Europe in 1876 and studied there four years. Became a mem- 
ber of the artists' colony at Pont Aven in Brittany. Traveled in Spain, 
France, England, Italy and Morocco. 

Principal paintings are: 

"Brittany" "The road through the poplars" 

"October" "Summer in the Blue Ridge" 

"On Herring Run" "Spring" 

Paintings are in the Metropolitan Museum, New York. Peabody In- 
stitute, Baltimore, Erie Art Club, Corcoran Art Gallery, Washington, 
Shaw collection, Philadelphia Art Club. 

"His work possesses sterling qualities of color and drawing, belongs 
to the naturalistic school and is widely known at home and abroad. 
(Nat. Cy. Am. Biog.) 

Josephi, Isaac E., Miniature painter, b. New York City. Pupil of 
Art Students' League, New Y r ork; also of Leon Bonnat in Paris. First 
president of American Society of Miniature Painters; member Royal 
Society of Miniature Painters, London. Mr. Josephi is accredited with 
the conception of the American society. His "Portrait of a lady" shown 
13 



98 

at the first exhibition of the society was the subject of much contro- 
versy. Some miniaturists insisted that it was far too modern for their 
art's limitations, while others insisted that their art had no limitations. 

Ki:\ii:u;. Edward Windsor, Illustrator, b. Sacramento, Cal., Jan. IS, 
1861. Educated in the public schools of New York. Self-taught in an. 

Since 1881 has been connected with various magazines and weekly 
periodicals as illustrator and cartoonist; speciality, negro characters. 
Has illustrated many notable books, such as Mark Twain's "Huckle- 
berry Finn," and "Puddin' Head Wilson": Stowe's "Uncle Tom's 
Cabin." He is author of books entitled "Rosemary," "Virginia Creeper," 
"Kemble's Coons,*' "Kemble's Pickaninnies." "Billy-goat" and other 
comicalities. 

Has exhibited in New York. Philadelphia. Chicago, Si. Louis and 
other cities in the United States. 

Kemeys, Edward. Sculptor, b. Savannah, Ga.. January 31, 1813; d. 
Georgetown Heights. Washington, D. C. May 11. 1907. Received his 
education in the schools of New York City. Upon leaving school he 
entered mercantile business which he gave up for Federal service during 
the Civil War; and it was not until after the close of the war and he 
Avas employed in the civil engineering corps of Central Park, New York, 
that he made his debut as a sculptor. His specialty is Indians and wild 
animals of America. 

In 1878 he exhibited in the Paris salon his now famous group "Bison 
and wolves." Returning to New York he produced "Still hunt." 
"Wolves/' "Panther and deer," and "Raven and coyote." 

In 1892 he went to Chicago, executing there a number of large groups 
for the Columbian Exposition. Also modeled the large bronze lions in 
front of the Chicago Art Institute building. 

Julian Hawthorne in 1881 in writing of Mr. Kemey's art said that 
we find "not merely nor chiefly the accurate representation of the ani- 
mal's external aspect, but what is vastly more difficult to seize and por- 
tray — the essential animal character or temperament which controls and 

actuates the animal's movement and behavior Here is an 

artist who understands how to translate pose into meaning, and action 
into utterance, and to select those poses and actions which convey the 
broadest and most comprehensive idea of the subject's prevailing truth." 
i "American wild animals in art." Century 6:211.) 

Kendall, Margaret Stickxkv (Mrs. William Sergeant Kendall). 
.Miniature painter, b. Staten Island, N. Y., November 29, 1871. Pupil 
of J. Alden Weir, Julius Rolshoven and William Sergeant Kendall. 



99 

Received bronze medal at St. Louis Exposition, 1904. Member of the 
American Society of Miniature Painters. 

Kendall, William Sergeant, b. Spuyten Duvvil. X. Y., January 20, 
1869. At the age of fourteen he was painting and modeling with 
Thomas Eakins in Philadelphia; from seventeen to nineteen he worked 
in the Art Students' League, New York, then went to Paris where he 
studied with Luc-Olivier Merson and later at the Ecole des Beaux Arts. 

At twenty-one he exhibited in the salon and the next year, 1891, 
received honorable mention for his "Penitents." This picture "has ob- 
tained for him several medals and prizes; other paintings have brought 
him flattering recognition. "Narcissa" won the Harris prize; "Alison" 
Avon the Potter Palmer gold medal and $1,000. Is a member of the So- 
ciety of American Artists; associate member of the National Academy 
of Design, New York, 1901; full member, 1905. 

Mr. Kendall has been called the "painter of children." His own 
charming children are his models. In his mother and child subjects, 
lie shows the tender joy of motherly love. 

Other favorite pictures are : 

"A fairy tale" "L'Allegro" and "II Pensroso" 

"Beatrice" "The end of day" 

"Three portraits" "The seer" 

"An interlude" "The critic" 

"Mr. Kendall is that somewhat rare type of artist, a classical intimist. 
His vision is eminently classic. All his forms are generalized from re- 
peated observation Kendall is not afraid of putting into a 

picture a good deal that the memory contributes to the eye; he is, one 
might say, anti-impressionistic." (Arts and Decoration, Nov. 1910.) 

"With ideals unimpaired, Kendall finds himself today the master of a 
self-evolved technique eminently congenial to their interpretation." 
(Harper 117:568.) 

"He is a skilful technician. . Surfaces in his paintings are exquis- 
itely rendered." 

Kikk, Maria Louise. Illustrator, b. Philadelphia, Pa., daughter of 
George H. and Harriet (Craig) Kirk; studied at Philadelphia School of 
Design, and Pennsylvania Academy of the Fine Arts. Philadelphia Art 
Club. Received Mary Smith prize at the Pennsylvania Academy of the 
Fine Arts 1894. 

Is illustrator of "Alice of Wonderland," and other children's books; 
also a portrait painter. 



100 



Favorite pictures : 



"Jack and Jill" "Little Miss Muffett" 

"Little Bo Peep" -'Mistress Mary" 

"Little Boy Bine" "Queen of hearts" 

"Little Jack Horner" "This little pig" 

Knight, Daniel Ridgway, b. Philadelphia, Pa., 1850; of Quaker 
parents. Few men who have won distinction with the palette and 
brush have started under less favorable auspices; a ban was placed 
under the parental roof on pictures and music. His grandfather was 
convinced of his artistic talent, and through his influence Ridgway was 
permitted to enter the classes of the Pennsylvania Academy of the Fine 
Arts. Later, with parental sanction and support, he was settled in 
Paris. He studied in the atelier Gleyre, then spent three years at the 
Ecole des Beaux Arts; later studied at the British Academy, Rome; re- 
turned to United States and took a studio in Philadelphia for a time 
painting portraits and genre pictures and teaching. 

In 1871 went to Paris and in 18T3 with his family moved to Poissy 
where he met Messonier. This acquaintance ripened into warm friend- 
ship, and Mr. Knight ever afterward acknowledged the great French 
painter as his master. 

He received honorable mention at the Paris salon of 1884; third-class 
gold medal, Paris salon, 1888; was honored with the Cross of the Legion 
of Honor, France, 1889, and with the Cross of Saint Michael of Bavaria, 
1892. 

To the salon of 1873 he sent "The fugitives" and to the salon of 1875, 
the "Washerwomen." 

"The Shepherdess of Rolleboise," "A summer evening," "On the ter- 
race," "The gardener's daughter," "July morning," "Quietude," and 
"Curiosity," are all salon pictures, and give a fair idea of the character 
of his work. 

"Those familiar with Knight's paintings will recognize in them a 
sort of family resemblance, due to likeness of models and similarity of 
landscape backgrounds." 

He is for the most part the painter of a single class of models — 
demure little peasant girls with their wooden shoes and picturesque 
costumes. 

"He glories in the fact .... that he is a painter of popular pictures, 
in which happy conceptions successfully worked out meet public ap- 
proval and command public patronage." (B. & P. 7:193.) 

Kost, Frederick W., b. New York. May 15, lsiil. Pupil National 
Academy of Design. Received honorable mention at Paris Exposition, 



101 

1900; bronze medal at Pan-American Exposition, Buffalo, 1901; silver 
medal at St. Louis Exposition, 1904. Associate member of National 
Academy, 1900; full member in 190G. Member Society Landscape 
Painters, Brooklyn, N. Y. 

Specialty, landscapes and marines. 

Ladd, Anna Coleman (Mrs. Maynard Ladd), Sculptor. Received her 
art education in Europe. She first exhibited in Boston, Philadelphia 
and New York in 1907. Since then her work has been included in every 
American exhibit of sculpture. 

Mrs. Ladd prefers imaginative subjects but she has modeled a number 
of successful portrait-busts and reliefs. 

"The American," which first attracted thoughtful artists stands for 
the universal human qualities of strength, determination and moral 
force. "Beast of prey" portrays the low earthside of man. "Pan" and 
"Youth" personify the American spirit of the woods. "The sundial" 
and "Bird fountain" stand in an Italian garden in Manchester-by-the- 
sea. 

"Her work has not only originality but strength and unusual signifi- 
cance. While it stirs the emotions it also provokes thought." (Anna 
Seaton-Schmidt in Art & Prog., July, 1911.) 

La FargE; John — "The painter of experiment" — b. New York, March 
13, 1835; d. Providence, R. I., November 14, 1910. His boyhood was 
spent in Newport, R. I., where his environment was such as to foster 
and develop his strong sense of color. From his earliest youth flowers 
were his intimate and loving companions, and from them he learned the 
secret of delicate gradation and harmony of color. At the age of 
twenty-one he went to Paris and entered the studio of Couture. 

Mr. LaFarge's work is so varied in subject, in feeling, in scale, it is 
executed in so many different mediums (he worked in oil, in water- 
color and on wood; was a mural decorator, a painter in stained glass 
and a sculptor) that generalization is impossible. 

A member of the National Academy of Design since 1869. 

He received the honorary degree M. A. Yale, 1890 ; L. L. D. Yale, 1901 ; 
Princeton, 1904. He was an art critic and lecturer, as well as the most 
learned painter of our times. From the mystics of early China to those 
of Barbizon, the history of painting was an open book to him. It was 
one of his strongest convictions that color symbolizes character and 
can be made to express the hidden meaning of things. 

In his purely imaginative works in oil, he drew from the realm of 
fairyland and witchcraft for subjects : "The pied piper of Hamelin," 
"The wolf charmer," "The sorceress," "The fishermen and the genii," 
"The siren's song." 




JOHN LA FARGE. 



103 

At a London exhibition one of his landscapes was hnng between a 
Rousseau and a Delacroix, and the French government bestowed the in- 
signa of the Legion of Honor upon him when he exhibited the Watson 
memorial window at the Paris Exposition in 1889. 

A triumph in mural decoration are his four paintings in the Supreme 
court room in the Minnesota state house; and his "Ascension" in the 
Church of the Ascension, New York, is one of the most beautiful things 
done in modern religious mural painting. 

It was his color again that proclaimed his authority in glass, and 
recalls the richness and splendor of the old masters. He invented the 
''opaline glass" and his new method for making stained glass windows 
changed the entire art of the glass stainer. His masterpiece in glass 
work is the famous Peacock window now preserved in the Art Museum 
at Worcester, Mass. 

"A great colorist who expressed in the language of color all the 
emotions of the human soul. He has placed an indelible mark upon 
American art." (Jarves "Art idea."') 

"He had probably the most complex nature in our artistic history, 
and indeed he had in this respect no parallel among the masters of his 
time abroad." (Cortissoz.) 

Lamb, Charles Rollixsox, Stained-glass designer, b. New York. 
Studied art at the Art Students' League of New York. Specialty: re- 
ligious and municipal art. 

The artistic decoration of the Sage Memorial Chapel at Cornell Uni- 
versity, was designed by Mr. Lamb. The lower wall surface in mosaic 
— a processional — expresses the idea of education ; the center subject 
is that of life and character, and the ceiling that of religion. 

The paintings and studies of detail in the processional were made by 
his wife, Ella Condie Lamb, and the mural paintings on the ceiling in 
the groined arches, by his brother, Frederick Stymatz Lamb. 

In describing this work, the Outlook 70:571 says: "This mosaic is one 
of the most important in size and character of any thing executed in 
the United States. It ranks with the work of William R. Richmond, 
of the Royal Academy, in St. Paul's Cathedral, London, the great pro- 
cessional by Charles Lehmair in the Madeleine Church, Paris, the 
panels of the new facade of the Cathedral in Florence, or what has been 
wrought by the late Sir Edward Rurne-Jones in the American Church 
at Rome." 

Mr. Charles Rollinson Lamb has unusual quality as an artist-decor- 
ator. "He sees things 'in the whole,' with rare judgment and art feel- 
ing." (Craftsman 13:420.) 



104 

Lamb, Ella Condib (Mrs. Charles R. Lamb), Mural painter, b. New 
York. Pupil of William M. Chase, C. Y. Turner, Walter Shirlaw in 
New York, Courtois and Collin in Paris, and Herkomer in England. 
Has received many prizes and medals for her work shown at various 
exhibitions in this country. 

Mrs. Lamb specializes in decorative designs for public edifices. Among 
her works are "The Advent angel," "The Christ child," for the Conrad 
memorial (in mosaic), St. Mary's church, Wayne, Pa., and "The Arts" 
and "The Sciences" for the memorial chapel at Cornell University in 
collaboration with her husband, Mr. Charles Rollinson Lamb, who de- 
signed the elaborate interior decoration of this marvelous art tribute 
to Henry W. Sage and wife. 

Lamb, Frederick Stymatz, Mural and stained-glass designer, b. New 
York, June 24, 1863. Pupil of Art Students League of New York; also 
studied under Lefebvre and Boulanger in Paris. Specialty : stained 
glass. 

Received honorable mention at the Columbian Exposition, Chicago, 
1893; medal from the French government for window at Paris Exposi- 
tion 1900, and Avas one of the four glass workers invited to represent 
the United States at that exposition. 

Has received commissions for important mural decorations, among 
them a large canvas for the Bethlehem Presbyterian Church, Philadel- 
phia. Pa.; work for the Bethesda Church, Saratoga, New York, and St. 
Peter's Church, New York. Designed the window in Emerson Memorial 
Chapel, Titusville, Pa. — "Friendship" (David and Jonathan). "Re- 
ligion" is an especially fine window in the Jones Memorial Library, 
Lynchburg, A a.; also is his mural painting, "Gloria in excelsis" in the 
Sage Memorial Chapel at Cornell University. 

His most important recent design is a series of eight windows in the 
old Plymouth Church, Brooklyn, N. Y. : 

"Hampden and Pym appealing for the Bill of Rights before Charles I" 

"Milton writing the plea for the liberty of the press" 

"John Robinson's prayer on the Speedwell— Departure of the Pil- 
grims from Delfhaveu" 

"The signing of the Compact on board the Mayflower" 

"The landing of the Pilgrims" 

"Founding Harvard College" 

"George Eliot preaching to the Indians" 

"Cromwell announcing to George Fox personal liberty of worship." 

Besides these, are three other windows, showing in the central one, 
Abraham Lincoln as president; on one side. Henry Ward Beecher speak- 
ing on the platform of Exeter Hall, London, in favor of the anti-slavery 
bill, on the other. Harriet Beecher Stowe in a group of women promi- 



105 

nent in the movement for the higher education of women. This work is 
gorgeous in color and beautifully harmonizes with the architecture and 
decorative scheme of the church. 

"There is a human quality in the art of this artist and even where 
the utmost conventionality of form has to be respected, there is a story 
with picturesque surroundings." (Craftsman 13:420.) 

Lathrop, Francis, Mural painter, b. at sea near the Hawaiian Islands, 
June 22, 1849; d. Woodcliffe Lake, N. Y., October IS, 1909. 

In 1862 he went to Dresden, Germany, and studied painting at the 
Royal Academy of Fine Arts; afterwards studied in London with Ford 
Madox-Brown and Sir Edward Burne-Jones and acted as assistant to 
R. Spencer Stanhope and William Morris, devoting special attention to 
stained glass work. After 1873 was engaged in portrait and decorative 
painting. 

Among his chief decorative works are the mural paintings entitled: 
"The Light of the world" over the altar of St. Bartholomew's Church, 
"Apollo" over the proscenium of the Metropolitan opera house, New 
York ; "Moses with the tablets of the Lord" a wall-painting in the Bow- 
doin chapel, Brunswick, Me. 

For the Marquand memorial window in Princeton college chapel, he 
received a gold medal in 1889. 

Mr. Lathrop executed many mural paintings and much stained 
glass work for numerous churches and residences in New York, Albany, 
Boston, Baltimore and other cities. 

A member of the National Academy of Design, 1906 ; also a member 
of the leading art societies and clubs. 

Le Roy, Anita. Studied at the Pennsylvania Academy of the Fine 
Arts, Philadelphia, and under Whistler in Paris. Has exhibited in the 
large cities of the United States. Member of the Plastic Club, Phila- 
delphia. 

A few popular paintings are: 

"Dutch canal and boat" "Dutch fisherman" 

"Dutch children" "Dutch woman sweeping snow" 

Leutze, Emanuel, b. Emingen, near Reuthingen, in Wurtemberg, 
Bavaria, May 24, 1816; d. Washington, D. C, July 18, 1868. When a 
child came to Philadelphia with his parents. By the sale of numerous 
drawings, he realized enough money to carry him to Europe in 1841. 
He went to Diisseldorf and entered the academy there, and as a pupil of 
Lessing soon acquired a name in historical art — a branch to which all 
his tastes and talent inclined. Elected a member of the National Acad- 
emy of Design, New York, in 1860. 



106 

In 1860 he received a commission from Congress to decorate a stair- 
way in the National capitol building, and painted the "Star of empire." 
"This painting stands quite alone in this country as an example of Ger- 
man decorative work." (Isham.) 

He painted a long series of historical compositions, many of Ameri- 
can subjects. 

Among his most dramatic and elaborate pictures which have won 
popular favor are: 

"Washington crossing the Dela- "Knox and Mary Stuart" 

ware" "First mass of Mary Stuart in 

-The settlement of Maryland" Scotland" 

"An Indian contemplating the "Landing of the Norsemen" 

setting sun" "Columbus before the queen" 

"The flight of the Puritans" "Cromwell and his daughter" 

"Henry VIII and Anne Boleyn" 

Among his portraits of eminent men, that of General Grant is a fine 
example. 

"In all his works, Leutze shows himself a typical Diisseldorfian, with 
the enthusiasm and admirations of the German romantic period, ex- 
pressed in a smooth, dull technique." 

He represents the culmination of a certain type of historical paint- 
ing in America — that besides the story told, the picture shall have a 
moral significance. 

Leutze resembles Carlyle — both teach hero worship. (Tuckermau.) 

Lewis, Edmonia, Sculptor, b. in the state of New York. Descended 
from both Indian and African ancestors. Comparatively untaught, she 
displayed a natural genius for sculpture and in 1865 exhibited in Boston 
a portrait-bust of Colonel Shaw which attracted much attention. In 
1867 she exhibited a statue called "The freed- woman." Soon after she 
went to Rome where she has since resided. She sent to the Centennial 
Exhibition in 1876 the "Death of Cleopatra" in marble. Her "Old 
arrow-maker and his daughter," "Asleep," and terra-cotta busts of Sum- 
ner, Longfellow, John Brown and others are well-known to visitors of 
her studio in Rome. The Marquis of Bute bought her "Madonna with 
the Infant Christ," an altarpiece. Her groups illustrating Longfellow's 
poem of "Hiawatha" are charming bits, poetic, simple and natural and 
"no happier illustrations of Longfellow's most original poem, were ever 
made than these by the Indian sculptor." (Revolution, April, 1871.) 

Loeb, Louis, b. Cleveland, O., November 7, 1866 ; d. Canterbury, N. H., 
July 12, 1909. An illustrator, etcher and figure painter. Studied under 



107 

Gerome in Paris. Exhibited in the Paris salon of 1895, and received 
honorable mention; also third medal in 1897, Hallgarten prize of the 
National Academy of Design, New York, 1902, and Webb prize of the 
Society of American Artists, 1903. Was elected associate member of 
the National Academy of Design, New York, in 1901 ; full member in 
1906. 

In his "Temple of the winds, sunset" a work of distinction, the draw- 
ing is full of spirit, and the pure coloring and sense of air and sunset 
light are very fascinating. "The breeze" was more of a success, and 
"Morning" won the Carnegie prize in 1905. 

Other pictures are: 

"The siren" "Blossoming" 

"The gilt shawl" 

He painted symbolical pictures in which the landscape plays a great 
part. 

Low, Will Hicok, Mural and stained-glass designer, b. Albany, N. V.. 
May 13, 1853. Pupil of Ecole des Beaux Arts under Gerome and 
Carolus-Duran in Paris. His pictures in oil were exhibited in the Paris 
salon. In 1881 he became a teacher in the antique and life classes of 
the Woman's Art School of Cooper Union. Was elected a member of 
the National Academy of Design, 1890. His illustrations of Keats' 
poems were exhibited at the Paris Universal Exposition in 1889, and 
won a medal. 

Mr. Low acquired his first knowledge of stained glass from John 
LaFarge and has since furnished cartoons for stained glass windows 
for many churches and public edifices. He is also one of the best 
exponents of the art of mural painting, his ceiling decorations of the 
ladies reception room in the Waldorf-Astoria hotel, New York, grace- 
fully entitled "Homage to woman" being most noteworthy. 

His painting "The maids of Cashmere" has for subject the Feast of 
roses, a charming oriental fete which Moore has pictured in "Lalla 

Rookh." 

Mr. Low has also achieved success in literary pursuits. 

At a recent Chicago Art Exhibition Mr. Low made a thoroughly repre- 
sentative display of his work : one hundred and forty drawings, sketches, 
cartoons and easel-pictures. Features of the display were the mono- 
chrome illustrations for Keats' "Lamia" and "The odes and sonneis." 
and the original studies for the celebrated decorations of the ball-room 
of the Waldorf-Astoria Hotel in New York. 

Luks, George Benjamin, b. Williamsport, Pa., August 13, 1867. ^ His 
father, a physician, was a clever draughtsman and his mother a painter 



108 

of talent. He studied art at the Pennsylvania Academy of the Fine Arts 
and in Diisseldorf, Paris and London. 

A radical worker in art, he has a disdain for art schools and conse- 
quently has little or no academic training. He is a natural draughts- 
man, however, and the charm of accuracy and poise distinguish his work. 
Most of his work has been of the city types. He finds his subjects in the 
debris of the human struggle. He is the painter of the East Side of 
New York. Luks sees artistic possibilities in the dock laborers — both 
man and animal. ''The patient waiting horses, the gray overcast river 
and the straining movements of the men as they work are registered 
upon the canvas with astonishing rapidity and fidelity." (Craftsman 
12:599.) 

In 1907 the National Academy of Design refused at its annual ex- 
hibition to accept a canvas of Mr. Luks, notwithstanding Eobert Henri 
made a spirited appeal for recognition of this artist's work. 

"With a grim and appalling psychologic power of a Gorky he paints 
creatures such as Higgins paints, but without Higgins' dramatic 
effects." 

"As a painter he uses his palette with a riotous disposition of tone. 
.... He sees nature with warmth and vitality, and his work is full of 
lighl and shade." 

MacCameron, Eobert, b. Chicago, 111. Studied painting under Wil- 
liam M. Chase and then entered the Ecole des Beaux Arts under 
Gerome ; later studied under Whistler. After the latter's death, he 
received criticism from Raphael Collins. 

Received gold medals, Paris salon, 1905, and his works have been 
hors concours since 1907. A member of the National Academy of De- 
sign, 1910. 

He has painted many portraits "but his true metier is rather to be 
found in subjects that more directly involve an imaginative interpreta- 
tion of the character or facts of life." 

Not satisfied to be merely a clever painter, he aims at an interpreta- 
tion of abstract aesthetic qualities. He believes that art should be an 
interpretation of mental and spiritual impressions. 

A few of his paintings are : 

"Les habitue's" ''Wormwood" 

"The last supper" 

Mr. MacCameron has painted a portrait of President Taft. 

McCarter, Henry, Illustrator, b. Norristown, Pa., July 5, 1865. Be- 
gan expressing himself as an illustrator when a boy student at the 
Pennsylvania Academy of the Fine Arts. The Century and the Maga- 



109 

zine of Art accepted his first work. Later he studied in Paris under 
Puvis de Chavannes and also came under the influence of Rixens, Bon- 
nat and Alexander Harrison. 

The "Lourdes" of Zola was the beginning of his important hook illus- 
trations; also furnished notable drawings to illustrate the poems of 
Paul Yerlaine. 

"Mr. McCarter seems essentially equipped for the pictorial interpre- 
tation of poetry; he has the most sentient appreciation of both delicacy 
and strength and a love of nature that is almost archaic. To these 
qualities he adds a psychology of beauty that is vividly real and through 
them all he gets the dramatic and forceful with still a persuasive grace 
and elusi ven ess." (Bkmn. 11 :244.) 

"A colorist of exquisite clarity of tone, the value of which is ap- 
parent in his black and white medium." 

"He does not so much suggest a pronounced individuality as he con- 
veys a pervasive identity, a conscious medium of nature and life." 

His illustrations of Verlaine's poems, notably "Claire de Lune" and 
"Le piano" are veritable triumphs of suggestiveness in the sense the 
French symbolist poets apply the word. Of special technical interest 
was also his "Easter hymn." 

MacEwex, Walter, b. Chicago, 111., February 13, I860. Pupil of Cor- 
mon and Robert-Fleury in Paris. Received honorable mention in Paris 
salon of 1886; silver medal, Paris Exposition, 1889; silver medal, Lon- 
don, 1890; gold medal from city of Berlin, 1891; medal of honor, Ant- 
werp, 1894; small gold medal, Munich, 1897; large gold medal, Munich. 
1901; medal Vienna, 1902; Lippincott prize, Philadelphia, 1902; gold 
medal, Liege, Belgium; chevalier of Legion of Honor of France; officer, 
1908; chevalier Order of St. Michel, Bavaria; officer Order of Leopold, 
Belgium, 1909. Associate member of National Academy of Design, New 
York, 1903. First vice president of the Paris Society of American 
Painters. 

"Paints interiors with delicate light, moist sea air and monotonous 
dunes with laborers returning in the evening from their work." 
(Muther.) 

Successful in the lighting of his subjects drawn from the private life 
of the Dutch bourgeoisie, while his portraits are excellent — well drawn 
and well painted. 

"Woman of the empire" exhibited in the Paris salon of 1903 is re- 
markable for its unusual finish rather than for originality or force of 
conception. "Holland interior" and "The secret" are two popular 
works. "Phyllis" is a prize picture. 



110 



Other paintings are: 



"The yellow robe" "At the window" 

"The betrothed" "The letter" 

"The secretary" "Confidences" 

"Judgment of Paris" "Head of young Dutch girl" 

"It is MacEwen's consummate ability to represent textures and to 
produce a soft harmonious effect that imparts charm to the canvas." 
(B. & P. 11:301.) 

His mural decorations in the Library of Congress are a series illustra- 
ting the stories of Greek heroes. (B. & P. 19:21.) 

MacLaughlan, Donald Shaw, Etcher, b. Boston, Mass., November 9, 
1876. Studied art with W. D. Hamilton, later went to Paris to con- 
tinue his studies. 

Received silver medal for etching at the Pan-American Exposition. 
Buffalo, 1901 ; medal of honor, Limoges, 1903 ; bronze medal at St. Louis 
Exposition, 1901. A member of the Paris American Artists Society. 

Mr. Frederick Wedmore, in a lecture on "Etching" delivered January 
23, 1911, before the Royal Society of Arts, said: "America, since 
Whistler, has given us one etcher of importance, Mr. MacLaughlan." 

In the short period of Mr. MacLaughlan's activity— he has been be- 
fore the public less than ten years — he has catalogued more than sixty 
etchings and dry-points. 

One of the International Studio's critics writes: "Looking at the 
etchings now reproduced one is quickly convinced of this truth — that 
even coming after the greatest among the masters .... such as Diirer, 
Rembrandt, Callot. Meryon, Whistler, Seymour-Haden, Flameng and 
Buhot, an artist endowed as MacLaughlan is endowed with the feeling 
of modernity and strong in his impeccable craftsmanship, may yet be 
able to add a personal page to the history of engraving." 

Minuteness added to a broad and sure sense of general effects: here 
in few words is the essence of his art. 

Mr. MacLaughlan has found his principal subjects in the streets of 
Paris, although Parma, Pavia, Bologna, Tuscany, Roman cainpagna, 
Tivoli, Neapolitan district all in turn have attracted him. 

MacMonnies, Frederick William, Sculptor, b. Brooklyn, N. Y., Sep- 
tember 28, 1863. At the age of sixteen he attracted the attention of 
Augustus Saint-Gaudens who received him as an apprentice in his 
studio; later he went to Paris and Munich where he spent some time 
studying painting which he considered so closely allied to sculpture as 
to be a necessary preparation. On a second trip to Europe he entered 



Ill 

the Atelier Falguiere in the Eeole des Beaux Arts, also worked in the 
private studio of Antonio Mercie. 

In Paris he speedily achieved the most gratifying success, carrying off 
for two successive years the prix d'atelier, the highest award for which 
foreigners in France may compete; also won the first prize of the Na- 
tional School of Fine Arts. 

In 1889 his first exhibit, a "Diana," obtained honorable mention from 
the Paris salon. He exhibited in the salon of 1891 the statues of Nathan 
Hale and James S. T. Stronahan and was awarded a second gold medal, 
this being the first and only time that an American sculptor has at- 
tained that honor. 

His "Bacchante 1 ' was purchased by the French government for the 
Luxembourg, he being the first American sculptor to be so honored. 

These were followed by "Pan of Rohallion" and "Faun with heron" 
which obtained for him such a reputation in the United States that he 
was chosen to execute the colossal fountain of the Columbian Exposi- 
tion, containing twenty-seven gigantic figures. 

Mr. MacMonnies has received many flattering recognitions of his 
gifts, including decorations of the Legion of Honor of France, the cross 
of Saint Michael of Bavaria, and many awards in his native land. 

A member of National Academy of Design, 1906. 

MacNeil. Hermon Atkins, Sculptor, b. Everett, Mass.. February 27. 
1866. Pupil of the Massachusetts Normal Art School in Boston, Chapu 
in Acadelnie Julien and Falgiuere in Ecole des Beaux Arts in Paris. 

Won the Boman Rinehart scholarship ISO.")-!)!); silver medal. Paris 
Exposition 1900; gold medal, Pan-American Exposition, Buffalo, 1901; 
elected associate member of National Academy in 1905; academician, 
1906. 

In 1888 he went to Paris and in 1890 exhibited a bust in the salon. 
While living in Rome and working in the Villa dell'Aurora, he pro- 
duced : 

"The moqui runner" "From chaos came light" 

"A primitive chant" "The sun vow" 

Taft says: "There are few American sculptors who manipulate 
the clay as charmingly as does Mr. MacNeil. His work is full of delight- 
ful touches and felicitous passages, yet the firm construction is never 

sacrificed to the superficial graces Two busts of women 

modeled by him are among the finest works yet produced by an Ameri- 
can — Herbert Adams alone has surpassed the "Agnese" .... "Beatrice" 
is less beautiful in execution." 



112 

Malbone, Edward Greene, Miniature painter, b. Newport, R. I., Au- 
gust 1777; d. May 7, 1807. "What Gilbert Stuart was to the larger por- 
traiture of America, such was Edward Green Malbone to the miniature 
work of his native land." 

From childhood he was ambitious to become an artist, and at the 
age of seventeen he was working professionally drawing heads in minia- 
ture ; and in the spring of 1796 he was fairly established as a miniature 
painter in Boston. Meeting Washington Allston, a strong friendship 
was formed which lasted during the life of the younger artist. In 1800 
Malbone and Allston went south where the former painted many minia- 
tures. Later they went to London where Benjamin West, then president 
of the Royal Academy, gave them a cordial reception. Here Malbone 
painted his celebrated picture known as "The hours." It is upon ivory 
and is exquisite in composition and color. It is now owned by the 
Athenaeum at Providence, R. I. Of this achievement Benjamin West 
said : "I have seen a picture painted by a young man named Malbone 
which no man in England could excel." 

This picture remained for nearly a hundred years an isolated example 
nf American art, when its influence was worthily carried out by Mr. W. 
J. Baers' "Aurora" and "Golden hour." and the interesting figure pieces 
by Lucia Fairchild Fuller. "He had the happy talent," writes Allston, 
"of elevating the character without impairing the likeness." (Heir- 
looms in miniatures" Anne Hollingsworth Wharton.) 

Marshall. William Edgar, b. New York, June 30, 1837 ; d. New York, 
August 29, 190G. When he reached the age of twenty-one he became a 
member of the National Bank Note Company and there spent several 
years at bank note engraving. He developed a talent for portraiture 
and his early efforts were so successful that he soon received orders for 
portraits. In 1864 he went abroad remaining in Europe about two 
years, living mostly in Paris where he painted portraits and exhibited 
in the salon of 1865-66. On returning to United States he took up en- 
graving large portraits. He engraved a "Washington" from Stuart's 
portrait, then painted and engraved a portrait of President Lincoln, 
both of which became historic works. In 1871 he executed a head of 
Christ after Da Yinci for Henry Ward Beecher's "Life of Jesus the 
Christ." Later he painted a "Head of Christ" which was an original 
conception of the subject. Mr. Marshall is best known by his portrait 
engravings, notably his Washington, Lincoln, Grant, Beecher; he also 
engraved heads of Longfellow. Blaine. Hancock, Garfield. Arthur and 
Harrison. 

Martin, Homer Dodge, b. Albany, N. Y., October 28, L836; d. St. 
Paul, Minn., February 12. 1897. Established a studio in New York in 



113 

1862. Was elected member of the National Academy of Design in 1871. 
His first trip to Europe was made in 1876 when he met Whistler who 
promptly recognized his qualities as a painter and invited him to work 
in his studio; he resided in France during 1882-6. 
Among his most important works are : 

"White mountains from Ran- "Morning on the Saranac" 

dolph hill" "A fire-slash lookout" 

"Lake Sanford" "A lake in the wilderness" 

"Honfleur lights" "Evening on the Thames" 

"Source of the Hudson" "Sand dunes of Lake Ontario" 

"Old Normandy manor" "The sun worshippers" 

"The mussel gatherers" "Golden sands" 
"On the Seine" (Harp of the 
winds) 

"Winchester hills" and "Adirondack scenery" are considered his 
masterpieces. His painting "The old church at Criqueboeuf" — Nor- 
mandy landscape — has been called by Boutet de Monvel, the well-known 
French painter, "the greatest landscape ever painted in America." He 
further declared that it was equal to the best of Rousseau's work, and 
yet was unlike anything that Rousseau had done. 

During his lifetime his pictures did not sell or were purchased by 
admiring friends, among whom were artists, critics, editors, poets, musi- 
cians, physicians and bankers, but now it is practically impossible to 
buy a really important example of his work. 

"The harp of the winds," "The Normandy farm," and "The Adiron- 
dacks" were painted after he was practically blind; the optic nerve of 
one eye was dead and a cataract partly clouded the other. The story 
of his failure to interest the buying public together with ill-health and 
approaching blindness, is most pathetic. He never looked with bitter- 
ness on the success of men far inferior to himself. 

"His work is that of a poet painter, but of one who felt more deeply 
the grandeur of mountain scenery than he did the pastoral beauty of 
simple scenes." "More than one critic has accorded to Martin the high- 
est rank among the poet painters of American landscape." (Nat. Cy. 
Am. Biog.) 

Hartmann sa} 7 s: "He was one of the men who brought our landscape 
art to its highest pinnacle of perfection." 

Maynard, George W., Mural painter, b. Washington, D. C. March .">, 
1843. A student at the National Academy of Design, New York, in 
1868. A year later he went to Antwerp where in company with Francis 
D. Millet he entered the Royal Academy of Fine Arts and studied under 

15 



114 

Van Lerius. After four years iii the academy and the museums of Bel- 
gium, he and his friend made a trip through central and southern 
Europe, returning to New York in the spring of 1871. The following 
year he became assistant to John LaFarge in company with Saint- 
Gaudens, Millet and Lathrop in the interior decoration of Trinity 
Church, Boston, the first important work of this character done in 
America, the merit of which has hardly been excelled. 

In 1877 he again visited Europe, making a special study of mural 
painting. He was elected associate member of the National Academy of 
Design, New York, in 1881, full member in 1885. Taught drawing for 
many years in the schools of Cooper Institute and at the Academy. 

In 1884 he won the Temple gold medal at Philadelphia, and in 1888 
the American Art Association medal of honor was awarded to him by 
the artist exhibitors. His picture ''Sappho" was purchased by the 
Pennsylvania Academy of the Fine Arts in 1889 and "Sirens" won the 
Evan prize. 

Among his numerous pictures are : 

"The angelus" "Strange gods" 

"Water carriers of Venice" "Old and rare" 

"An ancient mariner" 

Mkars, Helen Farnsworth, Sculptor, b. Oshkosh, Wis., 1876. Studied 
art in New York and Paris; later was an assistant of Mr. Augustus 
Saint-Gaudens. 

Her first success was "Genius of war." This was followed by "The 
fountain of life" and busts of George Rogers Clark and Dr. William 
L. G. Morton and portrait reliefs of Augustus Saint-Gaudens, Louise 
Collier Willcox and Edward A. McDowell. 

Miss Mears' most notable work was the execution of the statue of the 
late Frances E. Willard placed in the Hall of Statues in the Capitol 
at Washington, and unveiled on February 17, 1908. This is the first 
statue of a woman by a woman to be placed in the building. 

.Mi:i.< m;i;s. .1. Gari, b. Detroit, Mich., August 11, 1860. At the age 
of seventeen he went to Germany, studying art in Dusseldorf under Van 
Gebhardt; later he studied under Lefebvre and Boulanger, also at the 
Cour Yvon (famous clasfe at Ecole des Beaux Arts), Paris; after this 
look up his residence in Holland and has a studio at Egmond-aau-Zee. 

Mr. Melchers has received many honors in recognition of his fine 
artistic ability. He is a chevalier of the Legion of Honor of France; 
Knight of the Order of St. Michael, Bavaria ; Knight of the Red Eagle, 
Germany, and has received honorable mention in the Paris salon; also 
won medals of honor from Amsterdam, Antwerp. Munich and Vienna ; 




J. GARI MELCHERS. 



11(3 

he is a member of the International Society of Artists, London; The 
Secessionists, Munich; Soci6te Rationale des Beaux Arts, Paris, and 
professor at the Grand-Ducal Academy of Art in Weimar. Elected 
associate member of the National Academy of Design, New York, in 
1904; full member in 1906. First vice president of the Paris Society 
of American Painters. 

He is an American artist who has received more recognition abroad 
than at home. His first effort in Dutch painting, "The sermon" won 
honorable mention in the Paris salon of 1886. In 1889, when twenty- 
eight years old he received the blue ribbon of art — a medal of honor in 
Paris. Only three American painters have won this coveted distinction 
— Whistler, Sargent and Melchers. 

His "Family" hangs in Berlin; "Maternity" in the Luxembourg; "The 
ship builder" in Dresden; "Man With the cloak" in Rome; "Supper at 
Emmaus" is owned by the Krupp family; "Girl in church" is in the 
Royal Gallery, Munich. 

Brinton says in "Modern artists" : "It is not alone the homely pic- 
turesqueness of peasant or fisherman, the vast mottled skies, or the play 
of constantly diffused light which attract him to Holland. It was also 
the sterling artistic tradition of the country itself." 

His frescoes "Peace" and "War" in the Library of Congress at Wash- 
ington share with Sargent's frieze "The prophets" in the Boston Public 
Library, the distinction of being the finest frescoes in America. 

Landscape painting is Mr. Melcher's relaxation — "Green summer," 
"The arbor," "Winter," "Under the trees," are studies in sunlight and 
reflection. 

Melchers was the first artist to apply for permission to copy the 
Botticelli frescoes when they were put in the Louvre. 

He has painted a great many portraits in America and abroad. Caffin 
says : "Melchers is a searching analyst, stating without comment of his 
own, exactly what he sees, but — he sees below the surface." 

Among his finest works are: 

"Married" "Little Constance" 

"Sainte Gudule" "Penelope" 

"The communion" "Child in church" 

"Stevedore" "The green mantle" 

"The skaters" "Mother and child" 

"A Holland lady" "Pilots" 

"A fencer" "Young mother" 

"Audrey" "The kiss" 

"The nativity" "Sailor and his sweetheart" 

"The bride'* "The china closet" 

"The wedding "The Deft horse" 



117 

"The work of Mr. Melcher is full of that essential quality — person- 
ality." (C. Lewis Hind in World's Work, 15:10092.) 

Merritt, Axxa Lea. Etcher, b. Philadelphia, Pa. Began painting at 
the age of twenty-one and never had the advantage of academic train- 
ing. Traveled four years on the continent with her parents and sisters, 
and in 1871 she exhibited her first picture, a portrait, at the Royal 
Academy London. Since then she has been a constant exhibitor at that 
institution. Is a member of the Society of Painter-Etchers, London. 
She married Henry Merritt, artist and author, London, who died within 
a few months, and it was to furnish by her own hand etchings for a 
memorial work to her husband that she learned to etch. 

Mrs. Merritt is one of the few women in this country who have 
etched the human figure. Her portraits of her husband; Sir Gilbert 
Scott, the clebrated architect; Louis Agassiz, Lady Dufferin, Oliver 
Wendell Holmes and others rank among the best of modern etched por- 
traits. 

"She has executed many charming plates, principally portraits of dis- 
tinguished men and women of the time, with an occasional plate of river 
scenery, landscape or interpretation of her own paintings. Her vigor- 
ous portraits of Miss Ellen Terry and a large head of Mr. Leslie 
Stephens are striking examples of good etching." 

Metcalf, Willard Leroy, b. Lowell, Mass., July 1, 1858. Educated in 
the public schools of Massachusetts; apprenticed to a wood engraver of 
Boston in 1875; then to George L. Brown, a landscape painter, Boston, 
1876-7. Student in Lowell Institute, Boston Normal Art School, Boston 
Art Museum School, Academie Julien, Paris; also studied under Bou- 
langer and Lefebvre in 1883. Represented in the leading art galleries 
of the United States. Received the Webb prize, Society of American 
Artists, 1896, and awarded the Temple gold medal, Pennsylvania Acad- 
emy of the Fine Arts, also Corcoran gold medal; member of the Ten 
American Painters. 

Mr. Metcalf is numbered among the foremost of the American land- 
scape painters. During his six years study in Paris his most successful 
picture was the "Arab market" which received honorable mention in the 
Paris salon of 1889. Most of his painting is portrait work ; taught 
antique and life classes at the Cooper institute. Traveled in the west 
two years with Frank dishing, getting the benefit of his profound 
knowledge of the Indians. 

Well-known works : 

"A family of birches" "Golden screen" 

"May night" "Mid-winter" 

"Unfolding buds" "The snow bearers" 

"Spring fields" "Green canopy" 



118 

"Light and air are to kirn matters of serious concern, but also are 
form and motion, unlike tke majority of tkose wko follow tke impres- 
sionists teackings, ke cares not merely for tke effect of sunlight but for 
the object upon which the sunlight falls, and paints now always in a 
high key." (I. S. 39:8.) 

Mr. Metcalf is quite remarkable in the field of flower painting. 

By general consent Mr. Metcalf's "Trembling leaves" has been labeled 
"notable." 

Mielatz, Charles Frederick William, Etcher, b. Buddin, Germany, 
May 24, 1864. Pupil of National Academy of Design, New York, and 
F. Rondel. 

Member of the International Jury of Awards, St. Louis Exposition, 
1904; member of New York Etcking Club; was elected associate member 
of National Academy of Design, New York. 190G. Teacker of etching 
in the academy. 

A. L. Baldry says in "Modern etching" that Mr. Mielatz "possesses a 
power of rendering a great variety of subject-matter with success. Bulk 
and masses of arckitecture, ckaracteristics of street people and build- 
ings, ke sets down always witk grace and conviction." 

Miller, Richard, b. St. Louis, Mo., March 25, 1875. Mr. Miller is 
an American painter who lives in France and has attained many of the 
artistic honors that France and America bestow. Pupil of St. Louis 
School of Fine Arts, Benjamin-Constant and Laurens in Paris. Re- 
ceived third-class medal in Paris salon of 1900; second-class medal in 
Paris salon 1904; hors concours in salon of Societe des Artistes. France, 
1905. Chevalier of Legion of Honor; second vice president of Paris 
Society of American Painters. 

His early work was in quiet greys; later work is of nigkt scenes and 
incidents on tke boulevards. 

"Tkat kis work is admired, tkere is ample proof by its reception in 
tke Paris salons, tke galleries in Munick, Venice, Berlin and tke collec- 
tion of H. M.., tke King of Italy, besides tke principal exkibitions in kis 
own country." (I. S. 43:263.) 

Well-known paintings: 

"Tke toy merchant" ■< 'hinese coat" 

"In tke garden" "Le cafe" 

"The mirror" "Portrait of Mrs. Miller" 

Millet, Francis Davis, b. Mattapoisett, Mass., November 3, 1S46. 
Pupil of tke Royal Academy of Arts in Antwerp under VanLerius and 
De Keyser. 

Received silver and gold medals of konor, 1872 and 1873, at tke Royal 



119 

Academy, Antwerp; silver medal, Paris Exposition, L889; chevalier of 
the Legion of Honor of France. Was special correspondent for the 
"Daily News" during- the Russo-Turkish war, 1877. For this work he 
received the Roumanian Iron Cross and the Order of Chevalier St. Anne 
and of St. Stanislaus from the Russian government. Special corres- 
pondent of the "London Times" at Manila during Spanish war. Direc- 
tor of decorations, Columbian Exposition, Chicago, 1893. Member of 
the National Academy of Design since 1885. 

Mr. Millet has painted a number of portraits, the most important 
being those of Charles Francis Adams, Jr. and Samuel L. Clemens 
(Mark Twain); both exhibited at the National Academy of Design, 
New York, in 1877. 

A few of his paintings in oil are: 

"Off duty" "A cosy corner" 

"How the gossip grew" "A handmaiden" 

"A difficult duet" "Piping times of peace" 

"Love letter" "The black sheep" 

"Wandering thoughts" "Between two fires" 

"Fireside companions" "Rook and pigeon" 
"Lucky at cards, unlucky in 
love" 

"Mr. Millet does not revel in painting considered as being by itself 
one of the fine arts; his intention is almost as much literary as it is 
artistic; an episode of life, an anecdote, a state of soul rendered ruani 
fest in a pleasing manner and in the midst of curious and amusing 
accessories, studied with the minuteness and neatness of touch of the 
later old Dutch masters — such is Mr. Millet's conception of his art." 
(Child's "Art and criticism.") 

"In his pictures of episode he reveals the situation, not by acting 
but by suggesting it; therefore they have the charm of repose. His can- 
vases have incipient or completed action — rarely the suspended motion 
that tires us by its arrest or vehemence." 

His "Thesmophoria" or harvest feast, in a Pittsburgh bank, is a fine 
piece of mural painting. 

Mitchell. John James, Etcher, b. New York, 1815. Lived abroad 
from 1X1)7-70, studying architecture which profession he practised in 
Boston until 1870. In that year he again went to Europe and devoted 
himself to the study of drawing and painting under Boulanger and 
Lefebvre and Albert Maigman until his return in September 1880. His 
first efforts iu etching Avere made in Boston but he did not begin the 
practice of this art until 1876 when he received instruction from Brunet- 



120 

Dehaines, one of the best French etchers of our day; he learned from 
him a delicacy and refinement in the management of his tools which 
stood him in good stead in several series of small figure subjects pub- 
lished some time ago in Paris. He is especially clever if at times a bit 
theatrical in his management of strong floods of light." (Century 3: 
497.) 

Monks. John Austin Sands, Etcher, b. Cold Spring-on-the-Hudson, 
N. Y.. November 7. 1850. Educated at the Hudson River Institute, 
Claverack. N. Y. Studied wood-engraving and etching 1869; pupil in 
painting of George Inness, 1875. Has been engaged in art work since 
1874. Specialty in painting: sheep. 

A member of the Copley Society, Boston, and the New York Etching 
Club. 

"Whilst sensitive to associations, his art is very synthetic and but 
little realism enters into the quality of his line." (I. S. 25:30.) 

Moran, Edward, b. Bolton, Lancashire, England, August 19, 1829; d. 
New York, June 9, 1901. Elder brother of Peter and Thomas Moran. 
He arrived in Philadelphia in 1844 and was a pupil of James Hamilton, 
marine painter, and of Paul Weber, landscape painter. Went abroad in 
1802, studying in the Royal Academy of London for a few months. In 
1809 settled in New York, going to Paris in 1877 where he lived some 
time. He was a member Pennsjdvania Academy of the Fine Arts and 
was elected associate member of the National Academy of Design, New 
York, in 1873. 

His first pictures were exhibited in Philadelphia in 1853. The Balti- 
more Gazette, July 1, 1873 in commenting on Mr. Moran's painting en- 
< it led "In the narrows," said: "The great charm of the picture is 
jnotion." 

He printed in 1872 the first illustrated catalog printed in this country. 
He worked chiefly in marines, in both oil and water-color. 

A series of historical paintings, thirteen in number, was completed 
in 1899. These represent thirteen epochs in the marine history of 
America from the landing of Leif Erickson in 1001 to the return of 
Admiral Dewey in 1899. 

Mohan, Mary Nimmo, Etcher, Painter, b. Strathaven near Glasgow, 
Scotland, 1842; d. September, 1899. Came when a child with her family 
1o the United States. In 1863 she married Thomas Moran, the well- 
known landscape painter; in 1867 accompanied him to England, France 
and Italy and in 1871 traveled with him in the far West. Her work 
was principally water-color until in 1879 when she made her first at- 



121 

tempts in etching as a pastime during her husband's absence on an ex- 
tended trip through the west. 

Mrs. Schuyler Van Rensselaer says .Mrs. Moran found her true artis- 
tic voice only when she took up the etching needle. In 1887 an ex- 
hibition of the work of the women etchers in America was held at the 
Museum of Fine Arts, Boston, and while Miss Gabrielle D. Clements, 
Miss Mary Cummings Brown. Mrs. Edith Loring Peirce Getchell, Mrs. 
Eliza Greatorex, Mrs. Anna Lea Merritt, Miss Margaret M. Taylor, and 
sixteen other talented women were represented, Mrs. Mary Nimmo 
Moran took rank both in number and quality of plates. This position 
she held until the time of her death. 

Her "Twilight" is a plate of extraordinary power and beauty. 
"Easthampton Barren" which possesses a poetic charm, and "Bridge 
over the Delaware" (her first plate) are two of the four original etch- 
ings made in 1879 that were sent to the New York Etching Club and 
which gained her recognition as a master of the needle. "Solitude" is 
one of her best, as it is one of her strongest etchings. "Goose pond" 
was the diploma etching that secured her election to the Society of 
Painters-Etchers, London. (B. & P. 8:3.) 

"In etching, Mrs. Moran finds a language that accords entirely with 
her ideas and modes of expression. She treats her subjects with poeti- 
cal disdain of detail, but with a firm grasp of the leading truths that 
give force and character to her work. While her etchings do not dis- 
play the smoothness that comes from great mechanical dexterity, her 
touch is essentially that of the true etcher." (Koehlers "American Etch- 
ings.") 

"Her etchings are marked by energetic emphasis and bold directness 
rather than delicacy or smoothness." (Scrib. 46.) 

Moran, Peter, Etcher-Painter, b. Bolton, Lancashire, England, March 
4, 1842. Brought to America by his parents when three years of age. 
When sixteen he was apprenticed by his father to learn the trade of 
lithographic printing in Philadelphia. Later devoted himself to paint- 
ing, becoming in 1859 the pupil of his brothers— landscape, with 
Thomas, and marine, with Edward. He studied the works of Lambinet 
and those of Troyon and Rose Bonheur for animal painting, which sub- 
ject chiefly attracts him. His plate called "The return of the herd." 
may possibly be called his best. 

Since 1875 has devoted much time to etching, and reached the first 
rank in that branch of art. His etching "Chariot race in the circus 
Maximus" is a masterpiece, and is considered one of the most import- 
ant of the kind produced in America. 

A few of his original plates are: 



122 

"Low tide on the Schuylkill" "An old New England orchard" 

"A burro train" "Passing storm" 

•'An August day" "A summer afternoon" 

Of the last three, Mrs. Schuyler Van Rensselaer, the distinguished 
art-critic, wrote : "If we will ask for pictures from our etchers, we 
should rejoice when they give them to us of so complete a kind and 
yet with so much of the intrusive charm of etching, properly so-called, 
as does Mr. Peter Moran." 

To Peter Moran and his brother, Thomas, belong the honor of having 
been the first among the artists to recognize the picturesque qualities of 
the scenery of the southwest, and of the life of its aboriginal inhabit- 
ants — the Pueblo Indians. 

Jules Breton, the distinguished French painter, on seeing some of 
Mr. Moran's etchings exhibited in Paris, exclaimed: "The man who 
etched those plates, is a master!" 

Moran, Thomas. Etcher, Illustrator, b. Bolton, Lancashire, England, 
January 12, 1837. Came with his family to America in 1S44. Of the 
talented Moran family, he displayed artistic tastes at an early age 
and was apprenticed to a wood-engraver in Philadelphia, remaining 
with him for two years. At twenty-three he painted a scene from 
Skelly's "Alastor" and from 1866-71 studied the masters of France, 
Italy and Germany. Returning to America in 1871, he sought subjects 
of the most impressive character, and joined the exploring expedition of 
that year to the Yellowstone country, making sketches for his two great 
works, "The great canyon of the Yellowstone" and "The chasm of the 
Colorado." These were bought by Congress for $10,000 each and are 
now in the Capitol at Washington. 

Noted paintings are: 

"The mountain of the Holy "The groves were God's first 

Cross" temples" 

"The cliffs of the Green river" "A dream of the Orient" 

"Ponce De Leon in Florida" "The children of the mountain" 
"The last arrow" 

He made a series of remarkably fine designs in illustration of Long- 
fellow's "Hiawatha" and original water-color drawings on the Yellow- 
stone National Park. 

In etching his achievements have been both numerous and valuable. 
Among his most excellent plates are: "Sounding sea," "The gate of 
Venice," "Harbor of Vera Cruz, Mexico," "Venice," "Dordrecht." 

"His knowledge of form and constructive ability is quite remarkable, 



123 

and his skill in composition reveals itself best in the black and white 
reproductions of his works." (Hartmann.) 

"He has found congenial themes in the weird scenery of the Yellow- 
stone, he has dreamed of Turner in his dreams of the Orient and has 
painted ns lovely mornings in the harbor scenes for which he brought 
home his sketches from Cuba and Mexico." (Koehler.) 

For some time in addition to his many paintings and etchings, he de- 
signed 250 illustrations annually. His etchings won hearty praise from 
John Ruskin. Associate member National Academy of Design 1881, full 
member 1884. 

Mosler, Henry, b. New York, June 6, 1841. Removed to Cincinnati 
in 1851 and to Nashville, Tenn., in 1854. Studied wood-engraving and 
painting without much outside aid. Was draughtsman on "The Omni- 
bus," a Cincinnati comic weekly in 1855. Pupil of James H. Beard, 
1862-3. Appointed on staff of Gen'l R. W. Johnson. Studied art in 
Diisseldorf and Paris, 1863-6. 

In 1874 he again went to Europe, going to Munich where he studied 
under Wagner and also received private and special criticism from 
Piloty. When in Munich he won the medal of the Royal Academy. In 
1877 he removed to Paris, and the following year "The quadroon girl" 
and "Early cares" were exhibited in the salon. His "La retour," better 
known as "The return of the prodigal son," received honorable mention 
in the salon of 1879 and was purchased by the French government for 
the Luxembourg. This was the first picture that France purchased 
from an American artist. Mr. Mosler has never surpassed the technical 
skill displayed in this Luxembourg picture. 

His "Harvest dance," a Brittany scene, received the gold medal in the 
salon of 1888, which placed his works hors concours in the salon. "The 
last moments" won the only gold medal awarded to a foreign artist by 
the Arch-Duke Carl Ludwig of Austria at an exhibition in Vienna. He 
received in 1S92 the titles "Chevalier de la Legion d'Honneur" and 
"Officier d'Academie." In 1894 returned to New York. Is a member 
of the National Academy of Design, New York. 

"The qualities of Mr. Mosler are homely sentiment, a talent for telling 
an obvious story such as ordinary people can comprehend and enjoy, and 
an execution which is always adequate and often excellent, so far as it 
goes." (Child's "Art and criticism.") 

The number of his works is considerable. Their titles like the sub- 
jects treated are generally anecdotic, such as: 

"The return of the prodigal son" "The wedding gown" 

"The village clockmaker" "Visit to the marchioness" 

"The coming storm" "Breton harvest dawn" 
"Forging- the cross" 



124 

Mowbray, Henry Siddons, Mural painter. I). Alexandria. Egypt, Au- 
gust 5, L858, of English parents. In 1875 lie received an appointment 
to the F. S. Military Academy but remained there less than a year; 
took up chemistry; in 1870 following a preference for art, he went to 
Paris and entered the school of Leon Bonnat. For three years occupied 
himself with genre subjects, of which the best known perhaps is 
-Aladdin." Settled in New York in 1885. Since 1886 has been an in- 
structor in the Art Students' League. 

Has won many prizes and medals. His "Evening breeze" won the 
Clark prize in 1888 and he was made full academician in 1891. 

"In many of his works Mr. Mowbray gives pictorial form to the 
romantic days of Florentine chateau life during the renaissance; in 
others he has chosen oriental subjects . . . other paintings are purely 
fanciful, of these an excellent example is found in "Floreal" with its 
graceful maidens treading a measure to the sound of the pipe and tam- 
bourine." (Nat. Cyc. Am. Biog.) 

He also paints portraits of women with sympathetic interpretation 
and exquisite technique. Of late years has given much time to mural 
painting, and among his most recent achievements in this branch of art 
is "The transmission of the law" in the Appellate Court Building, New 
York. 

"It is a beautiful decoration; very individual and refined, with a 
purity of color and general spontaneity of feeling and execution most 
captivating." (The Artist 27:ix.) 

Murphy, John Francis, b. Oswego, N. Y., December 11, 1853. Went 
to New York City to live in 1875. First exhibited at the National 
Academy of Design in 1876. In 1885 he was elected an associate and 
two years later an academician. 

"Tints of a vanished past" won the Hallgarten prize of the National 
Academy in 18S5; "Brook and fields" won the Webb prize of the So- 
ciety of American Artists in 1887, and "Under gray skies" won a prize 
in 1894. 

Mr. Murphy is one of America's simplest and at the same time most 
poetic landscape painters. 

At an exhibition in 1910 he contributed the following: 

"The opal sunset" "The music boats" 

"A twilight in Venice" "The path to the village" 

"An upland cornfield" "After the frosts" 

"Edge of the pond" "Stony fields" 

"Sunny slopes" "April weather" 

"The brook" "Approach to an old farm*' 

"Sunset" "An October day" 



125 

''The charcoal burners" •Landscape" 

"Early fall" "Sundown*" 

"A cloud}' afternoon" "The yellow leaf" 

"A gray morning" "Neglected lands" 

"He has developed a special fondness for autumn scenes, but these 
are suffused with a flood of yellow or golden tints. They have the sea- 
son's inherent melancholy, but this minor note is vague and tender. 
The nature that Mr. Murphy paints is invariably nature in repose." 

"Simple in the selection of his themes, unpretentious in his composi- 
tions, synthetic in his treatment, not given to sharp contrasts of form 
or color, he has relied for his effects on simple straightforward render- 
ing, told in plain terms of personal interpretation." (B. & P. 10:205.) 

Nast, Thomas, Illustrator, b. Landau, Bavaria, September 27, 1810 ; 
d. Guayaquil, Ecuador, December 7, 1902. Came with his parents to 
America in 1846. Was educated in the New York public schools and 
displayed a decided talent for art. At the age of fourteen began his 
studies in art with Theodore Kaufman and at the age of fifteen fur- 
nished sketches and drawings for Frank Leslie's Illustrated Newspaper; 
his first assignment was to illustrate an account of a prize fight. Later 
went to England to make sketches for the New York Illustrated News. 
He followed Garibaldi's army through Sicily and Calabria and contrib- 
uted numerous battle pieces to the illustrated press of New York. Ke- 
turned to United States in 1861 and became a member of Harper's staff 
in the following year. 

Mr. Nast was first to introduce caricature work into America and 
his pictures of war scenes, of Andrew Johnson and of the Tweed Ring 
had great influence on the politics of his time. His war pictures for 
Harper's Weekly are among his most notable works. 

"A particular feature of Mr. Nast's work apart from his wonderful 
portraits was the ability to portray the individuality of his subject by 
some characteristic pose or peculiarity of apparel." 

His historical paintings in oil hold high rank in America for beauty 
of conception and execution. The most notable of these are : 

"Peace again" "The seventh regiment going to 

"Lincoln entering Richmond" war" 

"Saving the flag" "Appomattox" 

"During the civil war" "The day before the surrender" 

"Garibaldi" 

"Mr. Nast's reputation will probably rest on his cartoon work but it 
was his ardent desire that his name should he handed down as a great 
painter of historical scenes." (B. & P. 11:470.) 



126 

Net, Elizabeth, Sculptor, b. in Westphalia, Germany, in 1830; d. 
Austin, Texas, June 30, 1907. Studied art in Berlin and in Munich 
under Christian Rauch. She lived for a time in Georgia, then settled 
in Texas. 

".Miss Key was one of the most interesting characters as she was one 
of the best equipped of women sculptors. Nothing could be more roman- 
tic than the life of this gifted woman who was patronized by the "mad 
king" Ludwig II of Bavaria." 

Among the great men who sat to Miss Ney were von Humboldt, von 
Liebig, Jacob Grimm, Schopenhauer, Joachim, Garibaldi and Bismark. 
She also executed statues of Sam Houston and other noted Texas char- 
acters. 

Of her memorial to General Albert Sidney Johnston for the cemetery 

of Austin, Taft says: "The conception is vivid This is a 

work of high order, as is a sketch of Lady Macbeth one of the most ex- 
pressive and eminently sculptural conceptions among recent American 
ideals." (Lorado Taft's "History of American Sculpture," p. 211.1 

Niciiolls, Mrs. Rhoda (Holmes), b. Coventry, England. Pupil of 
Bloomsbury School of Art, London. Studied landscape in Rome with 
Yertunni, and the human figure with Cannerano. While living in Italy 
her work attracted the attention of the Queen who summoned her to re- 
ceive compliments on her attainments. Three years later, she went to 
South Africa and returned to England with many canvases. Previous 
to this she had received recognition in England, her pictures having 
been hung on the line in Royal Academy exhibitions. In 1881 Miss 
Holmes married Mr. Burr H. Nicholls and immediately came to 
America. 

Her pictures are chiefly figure subjects, among which are "Those even- 
ing bells," "The scarlet letter," "A daughter of Eve," "Indian after the 
chase," "Searching the Scriptures." 

In the Studio, March 1901, in writing of the exhibition of the Ameri- 
can Water-color Society, the critic says : "In her two works, "Cherries" 
and "A rose," Mrs. Rhoda Holmes Nicholls shows us a true water-color 
executed by a master hand." 

Mrs. Nichols is also known as an illustrator; her work ranges all 
along the line of oil painting, water-colors, wash drawings, crayons, 
pastels. As a colorist she has few rivals and her acute knowledge of 
drawing and genius for composition are apparent in every thing she 
does. 

"Quickness of conception, bold treatment and fine color mark all her 
work, while the wide reach of her subjects is remarkable." 

Mrs. Nicholls has been vice president of the New York Water Color 



127 

Club, member Women's Art Club, New York, also of Canada; member 
of Aquarelle Club, Borne. 

"At a recent exhibition held in Knoedler Galleries, New York, two 
canvases of Mrs. Nicholls' attracted attention. One was a slender girl 
holding- a bowl of roses; the other, a Venetian water-color sketch: 
"Gamins" lightly and delicately painted, yet full of expression and vivid 
effect of tones.-' (Giles Edgerton.) 

Niehaus, Charles Henry, Sculptor, b. Cincinnati, 0„ January 24, 
1855. Pupil of McMicken School in Cincinnati, also Royal Academy in 
Munich. Received gold medal at Pan-American Exposition, Buffalo, 
1901; was elected associate member of the National Academy of Design 
in 1902; full member in 1906. 

While at the McMicken School he won the distinction of obtaining 
at the time of his matriculation a first prize, medal and diploma for 
a composition entitled "Fleeting time." After studying at the Munich 
Royal Academy he returned to Cincinnati and received commissions for 
statues of Garfield: one for Cincinnati, the mother to be placed in the 
rotunda of the Capitol, Washington, in the name of the State of Ohio. 
After successfully executing these commissions he returned to Italy, 
establishing a studio in Rome. Merit of the work done there brought 
about his election as a Fellow of L'Associazione della Artistica Inter- 
nationale di Roma. Has been a resident of New York since 1885. 

Mr. Niehaus has a pronounced leaning toward classic subjects. "The 
Greek athlete using a strigil" is considered his best study of the nude. 
This work is known to the artist world as "The scraper" and is un- 
doubtedly, says Taft, "one of the few good nude figures in American 
sculpture." 

He has made statues of many distinguished citizens of United States, 
a pair of doors for Trinity Church, New York, done in high relief, 
equestrian statue of General Forrest for Forrest Park, Memphis, Tenn., 
contributed to the Library of Congress two figures, "Moses" and 
"Gibbon." Among his latest undertakings is a large nude figure, "The 
driller," an important feature of a monument at Titusville, Pa., to the 
memory of Col. Edwin L. Drake, who sank the first oil well in Pennsyl 
vania in 1859. 

Several critics have remarked that "the admirable breadth and 
smoothness of his treatment recalls the antique draperies in which the 
Greeks found delight." (Taft's "History of American Sculpture.") 

Nordfeldt, Bror J. Olssox, Etcher, b. Scania in the south of Sweden, 
1878. When thirteen years of age his parents came to America and 
settled in Chicago. He was put to work as printer's devil on a Swedish 
newspaper. At nineteen he took up the study of art in the classes of 




ELIZABETH NOURSE. 



129 

Frederick Richardson at the art institute; also studied drawing nuder 
John H. Vanderpoel. He became assistant of Albert Herter in painting 
mural decorations, and in 1900 went to Paris to study. His first effort 
was hung in the Paris salon of 1901. Also in the same year he had a 
product on the line at the Royal Academy, London. 

Was awarded a silver medal by the Italian government for an ex- 
hibit at the Milan Exhibition 1906. 

"He works directly from nature, composing his etchings or his canvas 
with the scene before him." His etchings "have been a surprise to his 
friends who have known his portraits, his landscapes and woodblock 
prints." 

The Provincetown series takes us among the boats along the water 
side with reflections out at sea. "Mothers" is an excellent composition 
including many figures and nursemaids in Washington Square; it 
recalls groups familiar to that locality. 

Nourse, Elizabeth, b. Mount Pleasant, Cincinnati, O., 1860. At the 
age of thirteen she showed remarkable talent for painting and her par- 
ents sent her to the Cincinnati Art School. Later the family fortune 
was lost in a financial panic and she earned money to continue her 
studies in Paris by designing and decorating the interiors of homes in 
Cincinnati. At the age of eighteen she entered the Academie Julien. 
Her drawing was so good that Boulanger advised her to take a studio 
and work alone, that her style might develop uninfluenced by academic 
training. She followed his advice and the same year her painting "A 
mother and child" was accepted in the salon and hung on the line, an 
unprecedented honor for a new-comer. Today she is one of the strongest 
American painters in Paris. 

When Puvis de Chavannes, Dagnan-Bouveret and others formed the 
Socie'te Nationale des Beaux Arts, Miss Nourse sent her pictures to the 
New Salon. They were received "with acclamation" and three years 
later she was made an associee. Puvis de Chavannes was the first to 
congratulate her; and when she was made a socitftaire in 1901, Dagnan- 
Bouveret, Cazin, Besnard. Rodin and others showered upon her con- 
gratulations. Miss Nourse was the first American woman on whom this 
coveted honor was conferred. 

One of her happiest interpretations of a mothers joy in her children 
is her "Happy days" (owned by Detroit Museum of Art i . and one of 
the most appealing canvases is "Thirst." now in a gallery in Rouen, 
France. "Closed shutters" has been purchased by the French govern- 
ment for the Luxembourg. 

A. Dubuisson. a French art critic, says: "There is no painter who 

17 



130 

has reproduced better than Miss Nourse the naivete of a baby's atti- 
tude and the tenderness of motherly love " 

Other characteristic paintings are: 

"On the dyke" "Little sister" 

"Evening" "The children of Penmarch" 

"The Madeleine chapel at Pen- "The family repast" 

march" "Among neighbors" 

"In the sheepfold" "In the country" 

"Good Friday in Rome" "The pardon of St. Francis d' 
"Morning toilet" Assisi" 

"The first communion" "In the fields" 

"The procession of Onr Lady of "Grandfather's feast" 

Joy. Penmarch" "The refectory of San Damiano 

Assisi" 

Her pictures are not portraits of models, but types of human char- 
acter. Some of her most beautiful pictures are landscapes of Brittany 
or bits in the old forest of Kambouillet, where she has spent many sum- 
mers. In the oriental exhibition held in Paris in 1905, her sketches of 
African desert of Tunis held a place of honor. The art of Elizabeth 
Nourse has been influenced by no other painter. Years of study in 
Paris have broadened her technique — her brushwork has become more 
firm, her color more beautiful, but the character of her painting re- 
mains unaltered. "She believes in art not alone for art's sake, but also 
for the sake of a humanity which it can uplift and spiritualize." ( I. S. 
17:217.) 

Her goodness to her models is well-known in Paris. A profound sym- 
pathy exisis between her and the humble people whom she paints. 

Oakley, Violet, Mural painter, b. New Jersey, L8T4. Began her 

studies at the Art Students League in New York; alter studying a year 
with Carroll Beckwith she went to Paris and became the pnpil of Aman- 
Jean; she also was a pupil of Charles Lasar in England. Upon her re- 
turn to the United States she settled in Philadelphia where she received 
instructions from Cecilia Beaux and others. As her work led naturally 
toward illustration, she entered the class of Howard Pyle. 

In the illustrations for "Evangeline" published by Houghton. Mifflin 
..V' Co. in 1897 she and .Jessie Willcox Smith were collaborators, and in 
that color work came the first suggestion for stained-glass. 

In 1878 she executed mural decorations, a mosaic reredos and five 
stained-glass windows in the Church of All Saints, New York; has also 
designed and decorated a window in the Convent of the Holy Child at 
Sharon Hill, Pa. 



131 

She has been a frequent exhibitor at the academy in Philadelphia 
with studies and compositions in color and in black and white and her 
window for the Church of the Epiphany in Boston was exhibited in New 
York before being placed. 

In 1893 Miss Oakley was commissioned to decorate the walls of the 
governor's reception room in the capitol at Harrisburg, Pa. This is 
the first work of its kind to be confided to an American woman. The 
decorations consist of thirteen decorative panels forming a frieze of 
heroic size. Under the title of ''The founding of the state of liberty 
spiritual" they impressively record events in the life of William Penn. 
These designs were exhibited at the Pennsylvania Academy of the Fine 
Arts and they won for her a special gold medal from the academy. An 
art critic writing of lliis work, now completed, says that her grasp of 
the subject in union with great technical skill has placed Miss Oakley 
in the foremost rank of American artists. 

Ochtman, Leonard, b. Zonnemaire, Zealand, Holland, October 21, 
1851. Came with his family to this country and settled at Albany, X. 
Y. in I860. At the age of sixteen he entered an engraving office as a 
draughtsman. A winter course at the Art Students' League of New 
York was practically the extent of his art education. His specialty — 
landscape — was entirely self-taught. He first exhibited at the National 
Academy of Design. Xew York, in 1882 and has since that time been a 
regular exhibitor at the art institutes and associations in the United 
States. 

In 1885 he traveled in England, France and Holland. 

Frederick W. Morton writes: "He is the exponent of home — a home 

that he knows intimately and deeply loves He sees broadly 

and paints as simply and sympathetically The scenes he loves 

to depict are essentially idyllic*' 

His "Night on the Mianus river," a prize picture, holds the spectator 
in a sense spellbound, as do his "The light of night," "An autumn 
moonlight," "Moonlight night" and other night scenes. "The enchanted 
vale" is one of his typical canvases — painted in the reds and yellows of 
early autumn. The same qualities are found in "In the mountains," 
"Views from Woodwild," "Seaside farm," "Buds and blossoms." 

"If they [his pictures] could be translated into words, as expressive 
as are the artists" pigments, they would all have the simple rhythm, the 

grace and beauty of lyrics He has approached nature like 

an Inness." (B. & P. 9:65.) 

Associate member of National Academy of Design 1898, full member 
1901. 



132 

Osthaus, Edmund Henry, b. Hildesheim, Germany, August 5, 1858. 
Studied art iu the Koyal Academy of Arts, Diisseldorf, 1874-82 ; pupil of 
Andreas Muller, Peter Janser, E. v. Gebhardt, E. Deger and C. Kroner 
(a noted landscape painter). Came to United States in 1883; was 
principal of the Toledo Academy of Fine Arts in 1886; now devotes his 
time to painting, principally pictures of shooting and fishing, hunters 
and dogs. 

A born sportsman and a student of animals, explains his adoption 
of a specialty, and his study and life explain his art. 

One of the most successful painters of animals. He paints animals 
as they are in a natural environment. His dogs are in action or in 
characteristic attitudes; his canvases are for the most part skilful com- 
binations of landscape and animal figure painting ... A careful 

draughtsman and a good colorist His works are documents of 

dog life. 

It is related that he commenced to draw as soon as he could grasp 
a pencil, and that he used the white pine floors (his mother's pride and 
despair) as material on which to express his youthful inspiration. 

The action and postures of his animals are those that can properly be 
termed characteristic. 

Favorite paintings: 

"Slow music" "The leaders" 

"Stumped" "A first effort" 

"Full cry" "My old coon dog" 

"The dog's glory" "On the bay farm" 

(B. & P. 18:81.) 

Page, Walter Oilman, b. Boston, Mass., October 13, 18G2. Was edu- 
cated in the private schools of Boston. Studied art in Paris at the 
Acadeniie Julien. Exhibited three years in the salons, also at leading 
art exhibitions in United States. 

Mr. Page was one of the founders of the first public school art league 
in United States. 

Pape, Eric, Illustrator, b. San Francisco, Cal., October 17, 1870. 
Pupil of Ecole des Beaux Arts, and of Gerome, Laurens, Blanc, Lefe- 
bvre, Boulanger and Delance in Paris. The list of honors and medals 
and decorations that have come to Mr. Pape is said to be overpowering. 

Under the age of twenty, he entered the AcadCmie Julien, Paris and 
in his examination for admission to the Ecole des Beaux Arts his draw- 
ing was marked "No. 3," the competitors numbering several hundred. 
His first salon picture — "Zevener Spinnerin" — was exhibited when he 
was nineteen; the following year he had three pictures and a bas-relief 



133 

medallion at the same salon; has been a frequent exhibitor since. His 
largest and most important picture "The two eras" shared with another 
the chief attention in the salon of 1893. His first work in the illustra- 
tion line was executed for the Century Company when he was still in 
Paris. Upon his return to the United States in 1894 he made a large 
number of drawings for the "Life of Napoleon" published by the same 
firm. Perhaps the most important single commission that he has per- 
formed was for Houghton, Mifflin & Co., in their exquisite edition of 
General Lew Wallace's "Fair God." His series of thirty-five water-color 
drawings made in illustration of "The life of Mahomet" in 1900 is well 
remembered, as are the illustrations for an edition de luxe of Haw- 
thorne's "Scarlet letter" published in 1905. "The romaunt of the oak" 
is one of a group of paintings to adorn a five-volume edition de luxe of 
the poems of his personal friend Madison Cawein. 

Mr. Pape spent several years in Egypt studying the ancient people 
and typical architecture. "The romantic, the archaic and the mediaeval 
are attractive to him, the sumptuous, the oriental and the pageantry of 
barbaric splendor." 

He conducts the Eric Pape Art School, Boston, and his wife who was 
.Miss Alice Monroe, a skilful artist, was his assistant in this school until 
her death May 17, 1911. (New Eng. Mag. 39:455.) 

Parker, Edgar, b. Framingham, Mass., 1840. Spent his professional 
life in Boston. Had no instruction in painting. Three of his portraits 
are in Faneuil Hall — Charles Sumner, Henry Wilson and Bear Admiral 
John A. Winslow. 

Whit tier gave him sittings in 1875 for a portrait which is the only 
original likeness of that great poet in existence, excepting one by Hoyt, 
painted in Whittier's youth. 

He painted the popular "Embarkation of the pilgrims" after a paint- 
ing by Bobert Weir. 

Parrisii, Maxfield, Illustrator, b. Philadelphia, Pa., July 25, 1870. 
Son of Stephen Parrish who is a painter and etcher of ability. Grad- 
uated at Heverford College and then entered the Pennsylvania Academy 
of the Fine Arts; after this he studied under Howard Pyle at Drexel 
Institute. Beceived honorable mention at the Paris Exposition, 1900; 
silver medal for drawing at the Pan-American Exposition, 1901. Mem- 
ber of Society of American Artists, 1897; associate member of the Na- 
tional Academy of Design, New York, 1905; full member, in 190G. 

After living in England and France for several years, returned to 
the United States. Mr. Parrish has become celebrated as an illustrator 
but his first productions were of a decorative character. The first work 
to bring him into prominence was a cover design for the Christmas 



134 

number of Harper's Weekly, 1895. In 1894 he was elected a member of 
the Society of American Artists on his pictures "The sandman" and 
"The bulletin board." Has contributed designs for Century Magazine, 
Harper's Weekly, the Round Table, Scribner's Magazine and the Book 
Buyer; illustrated Kenneth Grahame's "Golden age," Irving's "History 
of New York," Eugene Field's "Poems of childhood," Edith Wharton's 
"Italian villas and their gardens," R. Stannard Baker's "Great north- 
west" and "Great southwest." 

"Mr. Parrish is at his best in color. His palette is rich and full; his 
use of color strikingly effective, both as a means of artistic and of poetic 
expression .... His imagination finds expression not only in warm, 
rich tones and a glow of color, but when other ends are sought it em- 
ploys the most subdued effects, and at limes it rests on empty space 
.... Mr. Parrish is one of those rare illustrators who never disap- 
point. There is always something to admire in his work, and in most 
of his pictures a cause for genuine delight . . . His pictures and decora- 
tion have a distinct place of their own in modern American art." (Outl. 
78:829.) 

"A calm completeness and faultless finality are in everything he does. 
His color schemes are as synthetic and clearly understood as his archi- 
tectural settings." (Ind. 59:1398.) 

"Decorative it is to exaggeration and whimsical and quaint and so 
individual as to be personal — but withal so full of humor and sentiment 
as to make genial its Gothic spirit." 

Parrish, Stephen, Etcher, b. Philadelphia, Pa., July 9, 1846. After 
the age of thirty-one he applied himself to art. studying under a local 
teacher ; took up etching and produced his first plate in 1879. Has ex- 
hibited in New York, Boston, Philadelphia, Vienna and Dresden. Is a 
member of the Royal Society of Painter-Etchers, London. 

Mr. Parish takes the very first rank in American etching. He has ex- 
perimented widely with his art, especially in the matter of sky treat 
ment. 

Exhibited "Evening, low tide" in the salon of 1885, and "On the 
Ranee, Brittany" in 1880. Koehler says that Stephen Parrish's "An 
nisquam" is a convincing argument that the etching process is fitted to 
express broad sunlight as well as twilight effects. 

Among his best prints are: 

"The shepherd's Christinas eve" "Fishermen's houses, Cape Ann" 

"Old fish-house" "Coast of New Brunswick" 

"Low tide. Bay of Fundy" "Midsummer twilight" 



135 

Paxton, William McGregor, b. Baltimore, Md., June 22, 1869. Pupil 
of Ecole <les Beaux Arts under Gerome in Paris; Denis M. Bunker in 
New York. 

Received honorable mention at Pan-American Exposition, Buffalo, 
1901; bronze medal at St. Louis Exposition, 1901. A teacher. 

Among his recent works which have been notable arc: 

"A string of pearls" "At the telephone" 

"The white sunshade" "The huntsman" 

"The bride" 

Frederick W. Cobiirn, New England Magazine :\U ::!7, says: "Mr. 
Paxton became an interesting figure in American art a few years ago 
when it was announced that he takes account in his painting of the 
facts of binocular vision. It was observed during his large exhibition 
at the St. Botolph Club, Boston, in the winter of 1905, that he had 
undertaken to render nature as seen with both eyes, instead of as nearly 
every other painter has done, as seen with only one eye. A certain 
doubling of vertical lines, in other words, that are visible just outside 
of the visual focus has ordinarily been presented, if at all, simply by a 
device of blurring or lowering the tone of accessories. Mr. Paxton, so 
far as I know, was the first painter to render naturalistic-ally this over- 
lapping of images in such a manner as largely to increase the optical 
illusion " 

"Valasquez, Yermeer, Gainsborough and Ingres seem to the Paxton's 
masters so far as he is indebted to the past. As to affiliation with 
present day artists he stands somewhat aloof, although generally ac- 
cepted as one of the "Boston impressionists." 

Peale, Charles Watsox. b. Chestertown, Md., April 16, 1711; d. 
Philadelphia, Pa., February 22, 1827. At thirteen he was apprenticed 
to a saddler and afterwards established himself in the business. Be- 
coming interested in art he took lessons from a German painter to whom 
he gave a saddle for the privilege of seeing him paint. Influential 
friends provided the funds necessary for him to go to England to con- 
tinue his art studies. He studied under John Singleton Copley at Bos- 
ton and in 1770 went to London and became a pupil of Benjamin West. 
Returning to United States he established himself in Philadelphia in 
1770. He commanded a corps of volunteers in the Revolutionary War, 
became interested in politics and later lectured on natural history; was 
one of the founders of the Pennsylvania Academy of the Fine Aits at 
Philadelphia in 1805. 

His fame rests mainly on his achievements as a portrait painter and 
the circumstances of his association with Washington, who gave him 



136 

fourteen sittings. "He was the only portrait painter at that time and 
his genius was in great demand." 

The first of the fourteen portraits of Washington by Peale was in 
the uniform of a Virginia colonel and is the only one now extant of 
those painted before the Revolution and is highly valued as the first au- 
thentic likeness of him. 

His portraits gathered in Independence Hall. Philadelphia, — one hun- 
dred and seventeen, — include most of the celebrities, native and foreign, 
associated with American history and society. 

"His likenesses," says his son Rembrandt, "were strong but never 
flattered; in execution spirited and natural." 

Pearce, Charles Sprague, b. Boston, Mass., October 13, 1851. Cer- 
tain success as an amateur painter led him to regard art as a possible 
profession and after five years in mercantile business he took up paint- 
ing as a profession. He went to Paris in 1873 and entered the school 
of Leon Bonnat, where he remained three years. 

Ill-health made it advisable for him to pass the winters in a warmer 
climate and he visited Egypt, Nubia. Algeria. Italy and southern 
France. Since 1885 he has lived at Auvers-sur-Oise. His first paint- 
ing publicly exhibited was shown at the Paris salon of 1876. 

He has received prizes and medals from exhibitions and salons in the 
United States and Europe and been accorded the distinction of an 
elect ion as a member of the Order of Dannebrog, Denmark, Order of the 
Red Eagle, Prussia. Order of Leopold, Belgium, and chevalier of the 
Legion of Honor, France; is a member of the Paris Society of Ameri- 
can Artists and of the National Academy of Design. New York. 

He has painted portraits and figure subjects but lias made his great- 
est success picturing the rustic landscape and the peasants of northern 
France. 

"His shepherdesses, peasant girls and women chopping wood or mind- 
ing their herds are the work of a man who acquired a forcible technique 
under Bonnat and studied Bastien-Lepage with understanding." 
(Miither.) 

''The shepherdess" is probably his masterpiece. 

Other works are: 

•'Across the commons" '•Abraham's sacrifice" 

"Death of the first born" "Pet of the harem" 

"Beheading of Saint John" "Water carrier" 

"Prelude" "Toiler of the sea" 

"Return of the Hock" "Evening" 

"Saint Genevieve" "The shawl" 
"En chemin a Auvers-sur-Oise" 



137 

Penfold, Frank C, b. Buffalo, X. Y. Received honorable mention in 
the Paris salon of 1889 and honorable mention at the Pan-American 
Exposition, Buffalo, 1901. 

A good specimen of his work is "Stormy weather. North sea." 

Pennell, Joseph, Illustrator and Etcher, b. Philadelphia, Pa., July 
4, 1860. He was a pupil in the Pennsylvania Academy of the Fine Arts 
and his unusual ability in etching was early recognized by his instruc- 
tor, James L. Claghorn. He has won honorable mention and medals at 
Philadelphia, Chicago, Paris and elsewhere and has acquired no small 
measure of fame as a public lecturer and as. a critic and author. Asso- 
ciate member National Academy of Design, 1907; full member, 1909. 

Is represented in the Luxembourg Gallery, Paris, Cabinet des 
Estamps, France, Uffizi Gallery, Florence, Modern Gallery, Venice, Ber- 
lin National Gallery, Dresden, Buda-Pesth, South Kensington galleries 
and in many collections in the United States. 

As an illustrator for a time he worked in New Orleans in collabora- 
tion with Cable, the novelist; in 1881 he went to Europe to illustrate 
some of the Italian writings of W. D. Howells. Here he received recog- 
nition from Philip Gilbert Hamerton who secured his services in illus- 
trating a book on a tour along the River Saone. The fame of his work 
soon brought him all the commissions he wished, and he collaborated 
with Henry James, Justin McCarthy and Sir Walter Besant in illus- 
trating the picturesque streets and buildings of London; with Andrew 
Lang in doing the same service for Edinburgh ; with Mrs. Schuyler 
Van Rensselaer in portraying the majesty and beauty of the English 
cathedrals; with his Avife Elizabeth Robbins Penuell in recording the 

charms of European travel His drawings are legion in number 

and must be seen to be appreciated. His etchings (he has destroyed all 
his plates to prevent inferior prints from worn-out plates finding their 
way into the market), run up into the hundreds and have an average 
excellence rarely maintained by a devotee of the needle; his Philadel- 
phia. New Orleans, Italian and London series, all have their own 
charm and their own excellence. 

"No American illustrator has won for himself a more enviable fame 
than Joseph Pennell. His art is unique, peculiarly his own. As a 
draughtsman the world has produced few equals and no superior. With 
rare exception everything he has done has in an eminent degree, the 
quality of the artistic." (B. & P. 12:81.) 

"As Gibson is the leader among figure draughtsmen, Pennell is the 
leader among landscape draughtsmen." (Ernest Knaufft.) 

Pickxell, William Lamb, b. Hinesburg, A't.. October 23, 1851 ; d. 
Marblehead, Mass.. August 9, 1897. Went to Europe in 1871, studying 



138 

with George Inness in Kome, later for a few months under Gerome in 
Paris. From France he went to England and for a number of years 
was an exhibitor at the Royal Academy, London; also lived and painted 
in Brittany, working under Robert Wylie until the death of that artist. 

Received honorable mention in the Paris salon of 1880; awarded 
medals in Boston, Mass., 1881 and 1881; won Lippincott prize, Pennsyl- 
vania Academy of the Fine Arts, 1896. 

Member of the Society of American Artists, New York, and the 
Society of British Artists, London; associate member of the National 
Academy of Design, Xew York, 1891. 

Mr. Picknell is represented in the Luxembourg, Paris, Institute of 
Arts and Sciences. Brooklyn, Metropolitan Museum of Art, Xew York, 
Boston Museum of Art and Carnegie Art Gallery, Pittsburgh. 

The first picture to bring him recognition and standing as a painter 
was his "Route de Concarneau" painted at Pont Aven, Brittany. His 
"Breton peasant girl feeding ducks" was exhibited at the Royal Acad- 
emy, London, 1877, and "The fields of Kerren" received honorable men- 
tion in the salon of 1878. "Wintry March" was purchased for the 
Walker Art Gallery of Liverpool and hung in the apartment occupied 
by Queen Victoria on her visit to that city. "On the borders of the 
marsh'' was one of the first pictures purchased by the Pennsylvania 
Academy of the Fine Arts and "A toiler of the sea" was the first picture 
bought for the Carnegie Art Gallery, Pittsburgh. His marine "Plowing 
deep while others sleep" Avon the £100 prize of the Society of British 
Artists. 

The French and English critics gave unstinted praise to the strength 
and distinction of his pictures. 

"Art to him was holy; there must be no hypocrisy, no shirking, no 
secrets. All his knowledge he was eager to impart without price. . . ." 

An Italian gentleman and painter paid this tribute to him : "It is 
the sad privilege and prerogative of such natures to leave darkness 
where their spirit threw light, for he was one of those enthusiasts in 
the etymological sense of the word, possessed, carrying with them a 
power — a god if you like — and such guests are felt even in ordinary 
surroundings." (Cent. N. S. 40:710.) 

Notable examples of his art are : 

"A stormy day" "Among the olives" 

"Coast of Ipswich" "A gray morning, Moret" 

"Sunshine and drifting sand" "Late afternoon, Moret" 

"A sultry day" "Morning on the Loing" 

•After the storm" "Morning on the Mediterranean" 

"The edge of winter" "Twilight on the Mediterranean" 

"Where broad ocean leans "Mid-winter on the Litorel" 
against the land" 



139 

"Picknell made extensive use of the palette knife, gaining thus some- 
thing of the purity of tone, the vibration and the marvelous amount of 
atmosphere that distinguished many of his canvases." 

Potter, Edward Clark. Sculptor, b. New London, Conn., November 
26, 1857. Educated at Amherst College; studied sculpture under Mercie 
and Fremiet, Paris. 1888-9. Has been a member of the National Acad- 
emy of Design. New York, since 1906. 

Mr. Potter's first prominence was due to his collaboration with .Mr. 
Daniel Chester French at Chicago in L893 where their Columbus Quad- 
riga and other groups were among the most admired of the many decora- 
tions. 

Lorado Taft says that it is probable that uo American sculptor knows 
the horse quite so well structurally, as does Mr. Potter. 

Mr. Potter has not restricted himself, however, to animal sculpture 
nor to partnership enterprises. His delightful little "Sleeping faun" is 
in the Art Institute of Chicago; his Governor Blair of Michigan stands 
in an admirable repose before the state capitol at Lansing. His eques- 
trian statue of General Slocum on the battlefield of Gettysburg is con- 
sidered a striking portrait. . . . "There is no more impressive sculpture 
upon the famous battlefield." (Taft's ''History of American sculp- 
ture.") 

Mr. Potter has also executed two noteworthy bas-reliefs of Dante and 
Savonarola. 

Pratt, Bela L., Sculptor, b. Norwich, Conn., December 11, 1867. At 
the age of sixteen he entered the Yale school of fine arts where he 
studied under Profs. Neimeyer and Weir. In 1887 he entered the Art 
Students League of New York, continuing there his studies under Saint- 
Gaudens, Elwell, Chase and Kenyon Cox. He went to Paris in 1890 
where he studied under Chapu and Falguiere. While in the Ecole des 
Beaux Arts he received three medals and two prizes. Returned to the 
United States in 1892. Was commissioned for two colossal groups on 
l he water gate of the Peristyle at the Columbian Exposition. 1893. 

In 1895 and 1896 he shared in the decorations of the Library of Con- 
gress, Washington, D. C. 

His marble recumbent figure of Dr. Coit of St. Pauls' School, Con- 
cord, N. H., was given honorable mention in the Paris salon of 1897. 

In 1899 he made the Brown memorial tablet for Cornell University 
and the bronze portrait bust of Phillips Brooks for Brooks House, Har- 
vard University. 

Mr. Pratt's contributions to the Pan-American Exposition were num- 
erous and certain of them of great beautv. 



140 

He has produced many works in sculpture, statues, memorials, groups, 
tablets, busts, medallions, etc. 

Associate member National Academy of Design, 1 ( .)1(). 

i New Eng. Mag. 27 :760. Taft's "History of American sculpture.") 

Prellwitz,, Edith Mitchell i Mrs. Henry Prellwitz), b. South 
Orange. N. J., 1865. Pupil of Art Students- League of New York under 
George de Forest Brush and Kenyon Cox; Academie Julieu in Paris 
under Bouguereau, Robert-Fleury and Courtois. 

Received second Hallgarten prize in 1891 for her "Hagar and Ish- 
mael;" Dodge prize in 1895; bronze medal at Pan-American Exposition, 
Buffalo, 1901. Elected associate member of the National Academy of 
Design, New York, in 1906. 

Prellwitz. Henry, b. New York, 1865. Pupil of T. TV. Dewing and 
Art Students' League of New York; Academie Julien in Paris. 

Received third Hallgarten prize National Academy of Design, 1893; 
bronze medal Pan-American Exposition, Buffalo, 1901; medal St. Louis 
Exposition, 1901; Clark prize. National Academy of Design, 1907. 

Member of the Society of American Artists, 1906. Instructor in life 
drawing and painting at Pratt Institute, Brooklyn, N. Y. 

Elected associate member of the National Academy of Design, New 
York, 1906. 

Preston, Mary Wilson (Mrs. James Preston), b. New York. August 
11, 1873. Educated at Oberlin College. Studied art in New York art 
schools 1896-7; Whistler school. Paris. 1S99-1900. Began illustrating 
for magazines in 1902. Has illustrated: 

"Seeing France with Uncle John" "The incubator baby" 
"The smugglers" "The diary of Delia" 



i && j 



Proctor. Alexander Phimister, Sculptor, b. Bozanquit, Out., Canada, 
September 27, 1862. Pupil of National Academy of Design and Art 
Students League in New York; Puech and Injalbert in Paris. 

Received gold medal for sculpture and bronze medal for painting at 
St. Louis Exposition. 1901. Elected member of the National Academy 
L904. 

For years Mr. Proctor was a huntsman, living in the Rocky Moun- 
tains where he made ;i study of wild animals. Realizing that he needed 
better training in 1887 he went to New York and entered the classes of 
the National Academy. Being awarded the Rinehart scholarship he 
went to Paris for five years' study in technique. 

At the Paris Exposition 1900 Mr. Proctor's well-known panthers kept 



141 

guard at the entrance on the Place de la Concorde. His "Bison" shows 
evidence of the sculptor's close observation and acute sense of the ani- 
mal character, as do his "Fawn."' "Bear" and "Striding panther." 

Mr. Proctor is represented in public parks. New York, Denver. 
Pittsburgh, Buffalo and other cities of the United Stales. 

Pyle, Howard. Illustrator, b. Wilmington, Delaware, March 5, 1853; 
d. Florence, Italy, November 9, 1911. Was educated in private schools 
and in the Art Students League of New York; an instructor at the 
Drexel Institute, Philadelphia, a member of the National Institute of 
Arts and Letters, associate member of the National Academy of Design, 
1905, academician, 1907. 

At first being unsuccessful in art he went into business, but some of 
his drawings finally being accepted by a magazine he again took up the 
profession of his choice. 

His first assignment in illustration — a picture called "Wreck in the 
offing" — brought him steady employment in the field of art. His most 
important work was done in periodical illustration. 

Mr. Pyle ranked as our foremost American illustrator. Both in his 
stories (he was an author as w T ell as an artist) he exhibited a well- 
defined style, characterized by vigorous and sustained imagination and 
a certain charming quaintness eminently adapted to tales of fairyland 
or olden days. 

His principal publications are: 

"The merry adventures of Robin "Twilight land" 

Hood" "The garden behind the moon" 

"Pepper and salt" "Semper idem" 

"Within the capes" "Rejected of men" 

"The wonder clock" "The story of Arthur and his 
"The rose of Paradise" knights" 

"Otto of the silver hand" "The story of the champions of 
"A modern Aladdin" the Round Table" 

"Men of iron" "The story of Launcelot and his 
"Jack Ballister's fortunes" companions" 

"The stolen treasure" 

"His plates, rich and often gorgeous in color as they were, pictorial 
in intent and spirited in movement, showed the hand that was ac- 
quainted with the shortcomings as well as the successes of the reproduc- 
tive process." 

"Throughout his career he held pronounced views as to the disad- 
vantage of foreign training and association."' (Nation, Nov. 10, 1911.) 

Isham says: "Howard Pyle is the only man who seems to know thor- 
oughly the colonial and revolutionary epoch." 



142 

"He liked to draw for the accompaniment of text, and did much to 
dignify the practice. His later work generally shows him the complete 
artist-writer, decorator, illustrator and spiritual thinker as in the im- 
aginative "Travels of the soul" and in the "Fate of a treasure town" 
so different in character." 

Several creditable paintings bear his signature: "One hoss shay," 
"Old violin." "Trotting match"; these are well known. 

Arthur Hoeber in the International Studio for January 1912 says: 
"There was something convincing about Pyle's work; his knights and 
ladies, his revolutionary soldiers and his men and women of colonial 
times were to the manor born and not posed models dressed up for the 

occasion The death of Mr. Pyle leaves a distinct void and 

his place will in all probability never be filled for his work was entirely 
personal, full of the liveliest interest with great literary as well as 
artistic charm." 

Ranger, Henry Ward, b. near Rochester, N. Y.. January. 1858. Prac- 
tically self-taught. Went to New York and took a studio in the early 
TU's where he became acquainted with the works of the Barbizon men 
by which he has ever since been influenced. He studied many years in 
England, Fiance and Holland where he enjoyed an intimacy with 
Israels, Mauve and other leaders of the Dutch school. Was elected as- 
sociate member of the National Academy of Design in 1901; full mem- 
ber in 1906. 

Although the artistic public knows little of Henry W. Ranger, yet 
he is unquestionably one of the few great artists America lias produced. 
This is largely because he rarely exhibits in public displays. lie is op- 
posed to competition for honor of any sort, objecting on principle to 
distinctions other than come from the ability of his canvases to attract 
serious attention. 

In viewing Mr. Ranger's pictures one feels the presence of a single 
dominating idea. This dominating central idea is the mastery of tone. 
This tonal quality is defined as "a close and sympathetic adjustment 
of the hues and values of a picture to its dominating key — which is the 
index of its emotional meaning." (B. & P. 16:39.) 

This tonal quality in Mr. Ranger's work is joined with a strong sense 
of structure and rhythmical composition. 

Among his best known works are: 

■•Autumn woods" "Hawk's nest pool" 

"Golden evening — Noank" "On Mason's island" 

"Bow bridge" "Sentinel rock" 

"Bradbury's mill-pond No. 2" "Noank shipyard" 

"Spring woods" "Noank street" 



143 

"September gale — Noank" ''Flying point" 

"Peaceful moonlight reveries" "The edge of the woods" 

"The last of spring" "Willows" 

"Spring pastures" "Entrance to the harbor" 

"A gray day" "Top of the hill" 

"Saunders' hollow" "High bridge" 

••( lonnecticut woods" 

"These arc ample to show that underlying all this wide range is one 
perfectly definite personality that is itself throughout able to command 
moods that range from the tender and persuasive to the vigorous and 
powerful." (I. S. 29:33.) 

"His ait is based on a profound and sympathetic appreciation of 
nature. An artistic selection from her various and at times conflicting 
moods, it is willi all its science, emotional." (B. & P. 16:41.) 

Redfield. Edward Willis, b. Bridgeville, Delaware. December 19, 

L868. At an early age ho developed a love for art and was seal to a 
local academy where he was instructed in free-hand drawing; later 
studied in the Pennsylvania Academy of the Fine Arts and under Bou- 
guereau and Robert-Fleury. Paris. He is a member of the Society of 
American Artists; was elected associate member of the National Acad- 
emy of Designs. New York, in 1904; fall member in 1906. 

Mr. Redfield has received many competitive medals. 

Winter is his constant theme. He is a pioneer in this country in the 
realistic painting of winter, in which field he has few equals today. 
The French government has purchased his "February" for the Luxem- 
bourg Gallery. 

A few characteristic landscapes are: 

"Grey days" ••The crest" 

"Landscape in April" "The red barn" 

"Brook in winter" "December" 

"Hill and valley" "The briar patch" 

"The road to center bridge" "Cedar hills" 

"Foothills of the Blue Ridge" "The canal" 

"The hemlocks" -The old bridge" 

"Surf" -The fallen tree" 

"In his manner and method of painting, his work is a reflection of 
the methods of the impressionists, which he has adapted to his own use." 
(I. S. 41:xxix.) 

Reid, Robert, b. Stockbridge. Mass.. July 2!). 1862. Studied at the 
Museum of Fine Arts, Boston, 1880. and for three years was assistant 



144 

instructor. From 1885 to 1889 he studied in the Art Students League, 
New York, later went to Paris and studied in the Academie Julien 
under Boulanger and Lefebvre. Exhibited in the salon of 1889; had a 
studio for the summer in Etaples-pas-de-Calais ; returned to New York 
in 1889. He is a member of the Ten American Painters and one of the 
eight American artists who painted frescoes on the dome of the Liberal 
Arts Building at the Columbian Exposition, 1893. Has been instructor 
of painting in the Art Students' League and in Cooper Institute. 
Elected member of the National Academy of Design, New York, in 1900. 
Has received many medals and prizes. 

In the decoration of the Library of Congress five octagons on the 
ceiling of the second floor and four circular panels on the wall are his 
work. 

His decorations for the International Navigation Company mark a 
new line of work in marine architecture and decoration. 

"Autumn" is considered by some critics the best picture he has ever 
painted. 

A few characteristic paintings are: 

"Gladiola" "White parasol" 

"Canna" "Water sprite" 

"Tiger lily" "Tennis girl" 

"Pink carnation" "Butterfly" 

"Vine" "Village Juno" 

"Fleur de lys" "The mirror" 

"Azalea" "Little country girl" 

"Yellow flower" "Meditation" 

"His work is devoid of any spiritual, philosophical or philanthropic 
pretensions. It exists for itself alone, and persistently sings of youth. 
sunlight, flowers and supple rhythmic forms and contours." (Brinton 
in "Arts and Decoration" Nov., 1911.) 

Many titles of his pictures are chosen from the particular flower 
which is given prominence in the composition. 

Boyal Cortissoz writes of Mr. Beid's work: "His paintings have 
a durable charm. The liveliness of his flower-laden girls does not fade; 
his windows and his mural decorations are as persistently persuasive. 
The reason, I think, is that he has a true perception of beauty and never 
wearies in his pursuit of technical excellence." 

"He has secured from impressionism what could be of service to him- 
self — the delicate discrimination of color and the subtleties of various 
kinds of light and assimilated these facts into his own vigorous per- 
sonality." (Artist, 24 :lxiv.) 

Mr. Reid is one of the leading impressionisls. His preoccupations 
are purely pictorial. 



145 

Reinhart, Charles Stanley, Illustrator, b. Pittsburgh, Pa., May 1(5, 
1844; d. New York, August 30, 1897. Served in the <"ivil War; later en- 
gaged in mercantile business four rears. In 1868 went to Europe to 
begin a systematic study of art. Spent one year in Atelier Suisse, Paris, 
and then became the pupil of Profs. Echter and Otto, Munich. Re- 
turned to the United States in 1870 and began illustrating for various 
publishers; regularly employed by Harper & Bro. from 1871-7. Was an 
associate member of the National Academy of Design, New York. 

Mr. Reinhart was best known for his excellent work in black and 
white in which he is without peer. He is equally effective in color work. 
Was a regular contributor to the Paris salon during the ten years he 
resided at the French capital. 

He was one of the first who introduced "painter qualities" into illus- 
trative work. 

Remington, Frederic, b. Canton, N. Y., October 4, 1861; d. Ridge- 
ville. Conn., December 26, 1009. He was educated at Yale Art School, 
(and it is said that his eminence at college was on the football field 
rather than in the art classes) ; also studied at the Art Student's League 
of New York. Was clerk in a business office, then cowboy and stockman 
on a ranch in the west; subsequently illustrator for magazines treating 
military and American subjects and during 1897-8, Cuban scenes. Is 
well known as a painter, sculptor, illustrator and author. Associate 
member of National Academy of Design, 1891. Mr. Remington was the 
most eminent and successful of a half dozen painters who have made 
the field of Indian warfare and cowboy adventure their own. Essenti- 
ally an illustrator, he never became a "painter's painter'' but he was 
the people's favorite through the subjects he chose. "The Indian ap- 
pealed to him not in any histrionic way . . . but just as a human crea- 
ture." 

Cortissoz says : "His night scenes are both veracious and beautiful 
.... and they exert a very original charm. He knows how the light 
of the moon or of the stars is diffused, how softly and magically it en- 
velops the landscape. His picture "The gossips" is one of the hand- 
somest and most convincing Indian studies ever painted." 

Familiar paintings are : 

'"The luckless hunter" "Trailing Texas cattle" 

"The moose country" "The chieftain" 

"The buffalo runners" "Picture writing" 

"The fall of the cowboy" "The winter campaign" 

"Coming to call" "Among the led horses" 

"An Indian trapper" "Driving cattle on the plains" 

"Downing the nigh leader" "Indian runner" 
"Advance guard" 

19 



140 



In writing of an exhibition of his pictures, an eminent art critic says : 
"Two aspects of his ability as a painter of life were brought out in 
sharp relief by this collection of pictures — his authentic interpretation 
of the Indian, and his fidelity to things as they are amongst our soldiers 
and cowboys." 

His ponies are full of "horse character" and connoisseurs agree that 
in the painting of the horse, Kemington surpassed Meissonier. Fromen- 
tin and Detaille. His equestrian bronzes are picturesque and spirited. 
He approaches sculpture from the pictorial rather than the monumental 
side. 

Lorado Taft says: "Mr. Remington is not an interpreter, nor is he 
likely ever to conceive a theme sculpturally." 

His "Bronco buster" and "Wounded bunkie" are his leading sculpture. 

Richards, William Trost, b. Philadelphia, Pa., November 11, 1833; 
d. Newport, R. I., November 8, 1905. At an early age he turned his at- 
tention to the study of art and received his first instructions from Paul 
Weber. In 1855 he went to Europe, studying in Florence, Rome and 
Paris. He was an exhibitor in the Paris salon, the Royal Academy and 
Grosvenor Gallery, London. Was an honorary member of the National 
Academy of Design, New York. 

A painter of landscapes and marines, his best works in oil are: 



"The Wissahickon" 

"New England coast" 

"Mid-summer" 

"June woods" 

"Spring" 

"Ebbtide" 

"The inlet near Newport" 

"Tulip trees" 

"Land's end" 



"Mid-ocean" 

"At Atlantic City" (Paris salon, 

1873) 
"Wood scene" 
'•Summer afternoon" 
"Old orchard at Newport" 
"Out in the country" 
"Sea and skv" 



"So carefully painted in some of Richards' landscapes are the leaves, 
grasses, grain-stalks, weeds, stones and flowers, that we seem not to be 
looking at a distant prospect, but lying on the ground with herbage and 
blossoms directly under our eyes." (Tuckerman.) 

"Richards was one of the first American painters who adopted the 
pre-Raphaelite style of treatment in their pictures; this was in 1858, 
and since that time no artist in this country has achieved greater suc- 
cess in the profession. His drawing is never at fault and the crispness 
of his touch is charming." (Art Journal, Aug., 1877.) 

Robinson, Theodore, b. Irasburg, Yt., June 3, 1852 ; d. April 2, 1890. 
Studied art in Paris under Carolus-Duran and Gerome. He spent the 



147 

years 1884-88 with Monet at Giverny, then returned to this country and 
devoted himself to the Delaware and Hudson River Canal scenery. In 
earlier years he did a great deal of mural painting in New York, and he 
was well-known as an illustrator. 

"He accepted the impressionist theory that the first consciousness 
we receive of an object consists of a confusion of color dots. But he 
painted merely in prismatic color strokes, varying in size according to 
the subject." (Hartmann.) 

"In many of his works, especially in "The girl and cow" he shows the 
real benefit the impressionist doctrine may convey to those whose in- 
dividual strength repels ill-digested imitation. He revelled in light and 
analyzed it with subtle intuition growing emotional at every sunburst." 
Was strictly a neo-impressionist. 

Robinson had the faculty to impress one with the spontaneity of his 
expression. His work always seems to be done aw premier coup. He 
possessed the true tonality of nature. The same tone of nature is found 
in his "Winter landscape" as in his "The girl and cow." 

While studying under Carolus-Duran and Ge"rome he painted his 
"Study of a girl" the first of his pictures to be accepted by the Paris 
salon. In 1890 "Winter landscape" was awarded the Webb prize as 
the best landscape by an artist under forty years of age. In 1892 he 
won the Shaw prize of $1,000 for the figure painting in his "In the sun." 

Soon after his death in 1896 one of his pictures was offered as a gift 
to the Metropolitan Museum, New York, and the gift was declined. 
Within the last four years the museum has acquired three of his pic- 
tures and exhibits a fourth which is loaned. 

Cox writes of the "cold and intellectual gaiety" of Robinson's views 
of Giverny. 

Rolshoven, Julius, b. Detroit, Mich., October 28, 1858. Studied art 
in Dtisseldorf and Munich where he met Frank Duveneck with whom he 
also studied, accompanying him to Italy. In 1882 he went to Paris 
and worked in the studio of Robert-Fleury. He has exhibited in Paris, 
Munich, Berlin, London, Brussels, Vienna and Florence and in the 
principal cities of the United States and received honors and medals 
and artistic recognition from these exhibitions. 

Has instructed art classes in Paris, London and Florence. Is a mem- 
ber of the Munich Secessionists, the Societe Nationale des Beaux Arts, 
Paris, and the Chelsea Art Club, London. His present address is 15 
Viale Michelangelo, Florence, Italy. 

Drawing is perhaps the most noticeable strength of Mr. Rolshoven's 
work. He is also noted for the poetic way in which he treats interior 
and out-of-door scenes. 

His beautiful nude "La Venere bruna," an echo of his Paris period, 



148 

doiie in pastel, was given the place of honor in the first pastel exhi- 
bition in London. His work has of late years rebuilt itself upon a 
stronger and finer line. This the discriminating critic finds in "The 
girl with the kitten." 

''He recently exhibited two paintings in the salon of the Chicago 
Art Institute that are particularly interesting: in ''The cloister. Church 
of St. Francis d'Assisi" he gives a peaceful solemn vision of the interior, 
radiant in sparkling sunlight; while "The prayer" bathed in a mysteri- 
ous silence, gleams cool in the pale evening light." (I. S. 27:ciii.) 

In his Venetian pictures there is nothing of the sunny play of light — 
on the contrary, powerful greenish-blue tones are spread out with an 
effect of dark and solemn gravity. (Miither.) 

"Great grandmother's finery" is charming in treatment. 

There are two distinct influences clearly traceable in Mr. Rolshoven's 
work : the eye and hand for form, for line, learned in his goldsmith 
period and perfected under Italian skies .... and the inspiration of 
character won through Duveneck from the Dutch and Flemish schools. 
(The Artist, 26:185.) ' 

The Rome correspondent writing on American artists at the exposi- 
tion of 1911, says : "One of the best portraits of women in the exhibi- 
bition is that by Julius Rolshoven. This fine painting is rich in color 
and delightful in its treatment." 

Roth, Frederick George Richard., Sculptor, b. Brooklyn. N. Y., April 
28. 1872. Pupil of Hellman in Vienna, 1892, Academy of Fine Arts, 
Berlin, 1894. Received silver medal at St. Louis Exposition, 1904. 
Elected full member of the National Academy in 1906. Member of the 
National Sculpture Society. Has exhibited at St. Louis, Chicago, Port- 
land and Dtisseldorf. 

Ryder, Albert Pinkham, b. New Bedford, Mass., March 19, 1S47. 
Studied art under William E. Marshall and at the National Academy 
of Design, New York. Practically self-taught. Member of the National 
Academy of Design, New York, since 1906. 

The titles of some of his characteristic works give an idea of the scope 
of his subjects : 

"Jonah and the whale" "The tempest" 

"Christ appearing unto Mary'' "Desdemona" 

"The story of the cross" "Macbeth on horseback" 

"< Jharity" "Meeting the three witches" 



149 



"The forest of Arden" 
"The little maid of Arcady" 
"The two lovers" 
"( '(distance" 
"The sisters" 
"The passing song" 

-Siegfried" 
"Flying Dutchman" 
"The temple of the mind" 



"Autumn landscape" 

"Moonlight" 

"The old mill" 

"The wandering cow" 

"The race" 

"Chase" 

"Poet on Pegasus visiting the 

muses" 
"The horseman" 



Charles DeKay, the art critic, who really discovered Ryder, writes 
of him as "a colorist quite apart from schools and masters who, like 
Homer D. Martin, is what might be called an instructive colorist" . . . 

Generally small in size, often jewel-like, inwardly more glowing and 
charming than Limoges enamels, his pictures deal in color as the works 
of a great born composer deal in music. 

"His moonlight scenes are imbued with the witchery and mystery of 
night, as perhaps no one else has presented it . . . His is that obscure 
illusive quality that is to painting what Browning is to poetry." 

Isham, in his "History of American Painting," says: "Ryder's pic- 
tures differ from Whistler's as well as from Fuller's in being not trans- 
criptions from nature but creations of the imagination, and in striving 
to convey ideas, vague but poetic." 

"His sense for colors — gorgeous, ponderous as it is in his blues, soft, 
caressing in his yellows, and Aveird in his lilac greens — seems to me 

but an inferior quality Ryder is a chiaroscurist, an ideal black 

and white artist, with special aptitude for moonlight effects. One must 
see his "Siegfried" to realize how he can flood a picture with sensuous 
bewitching poetry. And in order to fathom how far he can climb in 
grandeur of thought and composition, one must study his "Jonah." 
His "Flying Dutchman" is a picture as impressive as religious — one of 
the few that sound the note of sublimity, which is after all the highest 
in art." (Hartmann.) 

Saint-Gaudens, Augustus, Sculptor, b. Dublin, Ireland, March 1, 
1848; d. Cornish, X. H., August 3, 1907. At the age of six months he 
came with his family to America. When thirteen he was apprenticed 
to Louis Avet, a cameo cutter. From 1864-7 he studied drawing at night 
at Cooper Union and at the National Academy of Design, and in 1867 
went to Paris to study sculpture. In 1869 he entered Jouffroy's studio 
in the Ecole des Beaux Arts. While in Rome, 1870-2 he produced the 
statues of "Hiawatha" and "Silence;" also experimented in painting, 
making studies of the Campagna. Returned to the United States in 




AUGUSTUS SAINT-GAUDENS. 



151 

1871. Associate member of National Academy of Design, 1888; full 
member 1889. 

His five monuments in the remarkable series of memorials to Civil 
War heroes are the Farragut statue and the equestrian statue of Sher- 
man in New York, Shaw memorial in Boston, and the statues of Lin- 
coln and Logan in Chicago. 

An eminent critic has called the Sherman monument the third great- 
est equestrian statue in the world, placing only the "Colleoni" of Verroc- 
chio and the "Gattamelata" of Donatello before it. His "Deacon 
Chapin" is probably the finest embodiment of Puritanism in our art. 

Kenyon Cox says: "I believe Saint-Gaudens is_ the most complete 
master of relief since the fifteenth century." 

The true quality of Saint-Gaudens' is best shown in the purely ideal 
figure which symbolizes an emotion of the human heart. This is his 
famous statue of "Grief" placed in Eock Creek cemetery near Wash- 
ington, D. C. In the final summing up of all his works, it is this statue 
which best expresses the power of Saint-Gaudens to express the soul in 
stone. 

France made him an officer of the Legion of Honor and the art so- 
cieties of France elected him to the highest position Avithin their gilt. 
But the honors which he valued most of all were the degrees conferred 
upon him by Harvard and Princeton — the gratifying token of recogni 
tion by great centers of learning of the fact that he had done notable 
work in raising American sculpture to its present heights. (Craftsman 
13.) 

Sargent, John Singer^, — "The painter of portraits" — b. Florence, 
Italy, January 12, 1850, of American parents. From his infancy he 
breathed an atmosphere of culture and art. He began his art studies 
at the Academy of Fine Arts in Florence and continued them in the 
studio of Carolus-Duran, Paris. At the age of twenty -two he received 
honorable mention in the Paris salon for his "Fishing excursion." In 
1879 he sprang into notoriety with his portrait of his master, Carolus- 
Duran. His "El Jaleo," a dancing girl, created a sensation in 1882; 
Madame Gauthereau's portrait made him famous and "Carmencita" was 
purchased by France for the Luxembourg Gallery. His charming "Car- 
nation, lily, lily, rose," was purchased for the Royal Academy, London. 

Hartmann says that the pictures on which Sargent's fame now chiefly 
rests were painted before he was twenty-eight years old, and that this 
marvelous feat stands almost unsurpassed in the history of modern art. 
However, the foundation of Sargent's popularity in America was laid 
when he received a commission to decorate a hall in the Boston Public 
Library. The "Frieze of the Prophets" carried the name of John Singer 




Copyright by J. E. Purdy, Boston. 

JOHN SINGER SARGENT. 



15:5 

Sargent into every corner of the United States, but it is as a portrait 
painter that has brought him world-fame. 

Isham says : "With all limitations and reserves made, he has talents 
manifest and unmistakable that give him securely his position as the 
first portrait painter since Reynolds and Gainsborough." 

Kenyon Cox writes: "Since the death of Whistler, Mr. Sargent holds 
by all odds, the highest and most conspicuous position before the world 
of any artist whom we can claim in some sort as American — indeed, he 
is today one of the most famous artists of any country, easily the first 
painter of England and one of the first wherever he may find himself." 

"Sargent's canvas vibrates with the exquisite quality of the theme 

itself, in all its integrity. That is his great gift If there is 

a living painter in whose interpretations of character, confidence can 

be placed, it is Mr. Sargent His range is apparently unlimited." 

(Cortissoz.) 

Child in his "'Art and criticism" has this : "Mr. Sargent is an artist 
in the noble sense of the term; he will never consent to be commonplace; 
he loves rarity; he interests always by the distinction of an effort which 
is not that of ordinary men." 

"Possibly the feature of Mr. Sargent's work that excites the greatest 
admiration in his fellow-artists is his facile handling of the brush. The 
final result of it gives one the impression of work done easily — in fact 
rather improvised than premeditated. But the impression is somewhat 
misleading, every stroke is calmly calculated, every touch is cooly de- 
signed." (John C. A'an Dyke.) 

Mr. Sargent is a member of the Royal Academy, London, of the 
Societe des Beaux Arts, Paris, National Academy of Design, New York, 
a chevalier of the Legion of Honor, France, and his works are hors con- 
cours in the Paris salon. 

The highest honor of artistic distinction came to him in 1S97 when he 
was invited to paint a portrait of himself to be hung in the famous por- 
trait gallery of the Uffizi, Florence. Italy. As none but truly great and 
world-famous artists are thus honored, this compliment ensures to him 
undying fame. 

Sartaix, William, b. Philadelphia, Pa., November 21, 1843. Pupil of 
Pennsylvania Academy of the Fine Arts, Bonnat and Ecole des Beaux 
Arts in Paris. Studied also in Italy and Spain. Won silver medal in 
Boston; honorable mention Pennsylvania Academy of the Fine Arts, 
bronze medal Pan-American Exposition, Buffalo, 1901. Is an associate 
member of the National Academy. Was one of the founders of the So- 
ciety of American Artists, president New York Art Club, taught life 
classes in Art Students League, New York. 



154 

"There is in Mr. Sartain's work a delicacy of tone in the simple masses 
not striking at first, but whose absolute justness is recognized on longer 
acquaintance. Some of his Moorish street scenes have a depth of lumin- 
ous atmosphere enveloping the figures in the way comparable to that of 
Pieter de Hooge." (Isham.) 

Cox writes of the romantic feeling and deep golden tone of Sartain's 
"Kasba." 

Schneider, Otto J., Etcher, b. 1875. Spent his childhood in Atlanta, 
111., moving to Chicago at the age of twelve. Received instructions at 
the Chicago Art Institute. Was employed as an illustrator for a num- 
ber of years in the art departments of various metropolitan newspapers ; 
later took up his residence in New York where he has taken up etching. 

Mr. Schneider's portraits of men exhibit his strongest work. The 
profile portrait of Ralph Waldo Emerson has the idealistic qualities of 
a great portrait. The portrait of the late President McKinley in the 
calm dignity that was part of the man, inspired a memorable etching. 
Again power is shown in the analysis and presentment of the unique 
personality of Elbert Hubbard; in the dry-point of Dr. Q.uinn the musi- 
cian, in profile; in the full face of Mr. A. F. Brooks, the painter, and 
again in the portrait of Bror J. Olsson-Nordfeldt, the etcher and 
painter. In each the salient characteristics are portrayed in their true 
light. "His portraits of women are fantasies on the motif of grace; 
those of men penetrate character and are documents of human endeavor; 
the street study opens to another impersonal interest and in the land- 
scape. Mr. Schneider has reached a point worthy of the highest appre- 
ciation. Into his picture "A quiet nook" there is reflection of the 
artist's own consciousness and his belief "that nature never did betray 
the heart that loved her." (Lena M. McCauley.) 

Schofield, W. Elmer, b. Philadelphia, Pa., September 9, 1867. Pupil 
of the Pennsylvania Academy of the Fine Arts and in Paris under Bou- 
guereau, Doucet, Ferrier and Edmond Aman-Jean. Received honorable 
mention at exhibition of Art Club of Philadelphia in 1808, also at Paris 
Exposition, 1900; Webb prize, Society of American Artists, 1900; first 
Hallgarten prize, National Academy of Design, New York ; honorable 
mention, Carnegie Institute, Pittsburgh; Sesnan gold medal of honor, 
Carnegie Institute, Pittsburgh, 1901. Member of the National Academy 
of Design, New York, since 1907. 

Represented in permanent collections in Buffalo Museum of Art, Penn- 
sylvania Academy of the Fine Arts, Cincinnati Museum, Carnegie In- 
stitute, Pittsburgh, John Herron Art Gallery, Indianapolis, and Cor- 
coran Gallery of Art, Washington. 

Best known paintings are : 



155 



"January evening" 
"Winter— snow study" 
"Winter in Picardy" 
"'The wood road" 
"February morning" 
"Midwinter thaw" 



"Sand dunes near Lelant" 
•'The packet boat" 
"Earlj T evening, Boulogne" 
"Below the lock" 
"Early days of spring" 
"March snow" 



"Mr. Schofield is a landscape painter who favors snowscapes; he paints 
his landscapes after the fashion of the Manet impressionism — of seeing 
things flat, as broad masses." 

"Schofield lays on his pigment in broad touches, and the picture has 
a tendency to lie on the surface of the canvas as a decorative pattern. 
His subjects have the quality of a tapestry of delicate gray and buff 
spots." (Isham.) 

"Essentially a man of the open, Mr. Schofield makes the spectator 
conscious of a rugged quality dominating his canvases wherein detail 

is subordinated to mass and general effect To his excellent 

draughtsmanship Mr. Schofield added a distinguished feeling for tone 
and color, and always he has had an innate sense of the pictorial grasp- 
ing intuitively the possibilities of the picturesque in a composition way."' 
(Arthur Hoeber.) 

Scudder, Janet, Sculptor, b. Terre Haute, Ind. Pupil of Kebisso in 
Cincinnati and Lorado Taft in Chicago ; in Paris studied first in the Vitti 
Academie and Colarossi's night school, then under MacMonnies. After 
an absence of three years, she returned to the United States and opened 
a studio in New York. Her first commission was for a lamp post and 
her second, the seal for the Bar Association of New York. After re- 
ceiving commissions for several memorial tablets and portraits in relief, 
she again went to Paris and from there to Florence, Italy, where she 
had a studio for several years. 

Miss Scudder has been honored in Paris, five of her madallion por- 
traits having been purchased by the French government, and these are 
the first work of an American woman sculptor to be admitted to the 
Luxembourg. These medallions are in bas-relief in marble, framed in 
bronze; casts of them have been made in gold and silver. One is said 
to be the largest medallion ever made in gold, being about four inches 
long. (Clements "W'omen in Fine Arts.") 

Her portrait medallion of Bishop Hare is especially notable. De- 
lightful also is the portrait of Master Billy Fahnestock. Her "Sun 
goddess" for the Brooklyn Institute of Arts and Sciences, representing 
Japanese Art, is a gravely dignified and significant sculptural creation. 
Miss Scudder is the only woman among the contributing sculptors. 

While residing in Italy, Miss Scudder became interested in fountains, 



156 

and in this line of work she has made her largest contributions to coin- 
temporary art. "It is these which give the keynote to her art, estab- 
lishing its individuality and to a degree measuring its worth. Her 
theory is that sculpture can be at the same time both gay and serious, 
enlivening and uplifting ... In her figures of children she has em- 
bodied the very essence of childish glee while keeping invariably in 
mind the prerogatives of plastic expression. . . . While her fountains 
are merry, they are in nowise trivial." (I. S. vol. 39:lxxxi.) 

Seton, Ernest Thompson, Illustrator, b. South Shields, England, Au- 
gust 14, 1860. Lived in the backwoods of Canada 1866-70; on the west- 
ern plains, 1882-7; educated at Toronto Collegiate Institute and Royal 
Academy, London ; studied art in Paris in 1890 and again in 1891. a 
pupil of Gerome, Bouguereau and Ferrier. Exhibited in the salons 
paintings and drawing of wolves, his favorite subject. 

He was one of the chief illustrators of the Century Dictionary con- 
tributing fully a thousand drawings of animals and birds. Was official 
naturalist to the government of Manitoba, and is well-known as an 
artist, author and lecturer. 

Shannon. James Jebusa, b. Auburn, N. Y., February 3, 1862. Spent 
early boyhood at St. Catherines, Ont. First painted bill posters for 
agricultural fairs; at the age of fifteen he went to London. Worked 
three years in South Kensington School where he took gold medal for 
figure painting; has also taken medals for portraits at exposition in 
Paris, Berlin, Vienna and Chicago. Associate member of Royal Acad- 
emy, London in 1897; full member in 1909; associate member of the 
National Academy of Design, New York, 1908. 

While a student he painted by command of Queen Victoria the por- 
trait of Miss Horatia Stopford, one of the maids of honor, since which 
time he has been overrun with commissions. 

Among his notable works are his portrait of the young Duchess of 
Portland, Marchioness of Granby, Lady Marjorie Manners, Duchess of 
Sutherland, "Mrs. Kitty." Lady Carbery and children, Miss Clough, and 
Sir Alfred Lyall. His "Iris" a portrait of his wife, has won high praise 
and was, together with "War" and "Flower girl," purchased for the 
Tate Gallery. 

Hartmann says: "He is today one of the most brilliant and certainly 
one of the most fashionable portrait painters of London. In forming 
his style he has been chiefly influenced by Bastien LePage and 
Whistler." 

"The portrait which J. J. Shannon paints may be designated as pic- 
torial Shannon belongs to those who will first and last see an 

object and render it with reference to its value as a picture." 



157 

"This priceless quality of the art to which Shannon and his colleagues 
are the heirs is its ability to suggest the special atmosphere and en- 
vironment of a given period.'' (Brinton's "Modern Artists.") 

In England Mr. Shannon enjoys a popularity as a portrait painter 
second to John Singer Sargent. 

Mr. Shannon received the unique distinction of a "meclaille d'- 
honneur" for his portrait of Phil May exhibited at the International 
Exposition of Fine Arts at Barcelona, Spain, 1911. 

Sherwood, Rosina Em. met (Mrs. Arthur M. Sherwood), Miniature 
painter, b. New York City, December 13, 1857. Pupil of William Chase 
in New York ; Academic Julien in Paris. 

Mrs. Sherwood has received many prizes and medals for drawing and 
miniature work. Was elected associate member of National Academy, 
1906. 

Shinn, Everett, Illustrator, b. Woodstown, N. Y. Pupil of Pennsyl- 
vania Academy of the Fine Arts. Specialty, mural decoration. 

Did illustrating for Philadelphia newspapers, and for two years fur- 
nished drawings for the New York press. Has been represented in all 
leading magazine; and the Boussod, Yaladon Company sent him abroad 
to make pictures of the street scenes and typical life in Paris, exclusively 
for their trade. 

"Makes a direct attack on the essential, and gives little care to the 
manner of expressing it, being a careless draughtsman, but possessing 
a technical facility that is more likely to run away with him than to 
guide him to surer and saner methods.'' 

Shinn, Florence Scovel, Illustrator, b. Camden, N. Y. Studied art 
at the Pennsylvania Academy of the Fine Arts; an illustrator since 
1897. Married Everett Shinn, January 26, 1898. 

Her keen sense of humor crops out in every group, and the turn of 
a line gives a comical effect. The peculiar gift that Mrs, Shinn is en- 
dowed with is that she can draw the most pitiful little figures and yet 
infuse into the picture a happy, healthy atmosphere that impresses us 
with the worth and joy of living. Her characters are never caricatures; 
they are appealing and provoke the laughter that bears no malice. 

Her summer home is in Plainfield, N. H., in a beautiful country house 
designed by her artist husband, Everett Shinn. In winter Mr. and Mrs. 
Shinn live in New York City where they have studios. 

Shirlaw. Walter, b. Taisley, Scotland, August 6, 1838; d. Madrid, 
Spain, December 29, 1909. Began his career as an engraver and illustra- 
tor; was thirty -two years of age when he went abroad to studv. After 



158 

seven years in the school in Munich under the instruction of Wagner 
and Kaulbach, he returned to this country and devoted himself to the 
interests and advancement of national art. He was one of the first in- 
structors at the Art Students League, New York. One of the founders, 
and the first president, of the Society of American Artists. 
Earlier pictures : 

"Toning of the bell" "A study of a head" 

"Sheep-shearing in the Bavarian "Feeding the poultry" 

highlands" "Good morning" 

"The young patrician" "Sheep" 

Other works: 

"Capelmeister" "Marble quarry" 

"The fiddler" "Indian girl" 

"Very old" "Eager for the fray" 

"Sleep" "Autumn" 

Later pictures: 

"Gathering seaweed" "Brittany" 

"Roses" "Among the old poets" 

"The dancer" 

Received medal of the Royal Academy, Munich; honorable mention 
at the Paris Exposition in 1889 ; associate member of the National Acad- 
emy of Design, New York, 187S; full member, 1888. 

"The name and fame of Walter Shirlaw will, however, be more cer- 
tainly perpetuated through his gifts as a master of decorative arts and 
by the influence and effect of his rare personality and noble character 
on contemporaneous art development." (I. S. 43.) 

Shirlaw's strong point is not color; he shows a decided leaning to 
sculpture. (Innes "Schools of painting.") 

Simmons, Edward Emerson, b. Concord, Mass., October 27, 1852; a 
nephew of Ralph Waldo Emerson; graduated from Harvard in 1874. 
Studied art in Boston, then went to Paris and studied under Boulanger 
and Lefebvre in the Atelier Julien, winning the gold medal of the studio 
at the end of his first season. He has been a professional painter since 
1879. Is a member of the Ten American Painters. Has lived much 
abroad in Brittany, France, and in Cornwall, England, but since 1893 
has lived chiefly in NeAv York. 

It was from Brittany that he sent to the Paris salon of 1882 his paint- 
ing "The washerwoman" which brought him honorable mention. This 
model was rendered famous bv serving as the heroine for Blanche Willis 



159 

Howard's novel, "Guenn" which was written that year at Concarnean. 

Mi*. Simmons painted Breton themes exclusively until he took up 
his residence in St. Ives, Cornwall. Here he became associated with a 
colony of English artists and here he painted his successful "Mother and 
child." and a splendid marine of the Bay of Lelant. His pictures of the 
Bay of St. Ives are among the most beautiful and poetic works of the 
kind that we owe to any modern artist. They have been exhibited at the 
Royal Academy, London. (B. & P. 5:241.) 

Among other popular paintings may be mentioned: 

"Study at Concarneau" "The winnowers" 

"Corner of the market" "Bout de la cour" 

"Summer" "Low tide" 

"Breakfast" "The carpenter's son" (consid- 

ered one of his best works) 

His mural decorations have been highly praised by critics. Of those 
in the Library of Congress, Washington, D. C. (a series of nine paint- 
ings representing the Muses) Arthur Hoeber says: "The work is thought- 
ful, serious and able; and besides the admirable technical excellence dis- 
played there is felt the intellectual power behind the composition." 

"His decorations of the Astor gallery of the Astoria, New York, rank 
among the finest artistic achievements that the country can boast; and 
the artist has never surpassed the standard that he has here set for 
himself." (King's "American mural painting.") 

Mr. Simmons is a painter of remarkable versatility and his work is 
distinguished by freedom of execution, exquisite drawing, repose and 
much charm of color. 

Smedley, William Thomas, b. Chester county, Pa., March 26. 1858. 
Entered newspaper office at fifteen; studied engraving in Philadelphia 
and art in the Pennsylvania Academy of the Fine Arts; went to New 
York in 1878, and later to Paris where he studied under Jean Paul 
Laurens. Opened a studio in New York in 1880 and has since been 
actively engaged as illustrator for Harper's and other standard periodi- 
cals. In 1883 he was engaged by publishers of "Picturesque Canada" to 
travel with the Marquis of Lome through the west and northwest 
Canada and illustrate the work; has since made several sketching tours 
in United States and in 1890 around the world. 

In 1881 he made his first contribution to the National Academy of 
Design, New York, and and in 1888 was represented, for the first time, 
in the Paris salon. In 1890 won the William T. Evans prize with "A 
Thanksgiving dinner." 

As an illustrator, Mr. Smedley depicts high and low life with equal 
skill. 



i60 

His illustrations of Warner's "Golden house" and Howells' "Their 
silver wedding journey" may be cited as examples of his success in one 
direction, and those of T. A. Janvier's "Casa Napoleon" and Miss Mur- 
free "Strange peoples' country" of his success in the other. 

Elected member of the National Academy of Design, New York, in 
1905. 

Burlington magazine says : "Smedley seems like an American Ghir- 
landajo." 

"His pen execution, free and unrestrained, displays the habit of the 
sketcher." 

Smillie, James D., Etcher, b. New York, July 10; 1833; d. Septem- 
ber 14, 1909. The son of a jeweler and silversmith, he did etching be- 
fore he was eight years old. The sentimental bias of early years is 
shown in a weeping willow and tombstone, while a struggle to break 
the bonds of conventionality is evident in a processional line of six or 
eight black-looking buffaloes. He says : "If I remember rightly, sun, 
moon and stars appeared in the firmament." At fourteen years of age 
he made ambitious illustrations of Milton's "Paradise lost." 

In 1862 he Avent abroad to study, having previously been employed 
in bank-note engraving. In 1864 he abandoned engraving and took up 
painting. In 1865 he was elected an associate member of the National 
Academy of Design and an academician in 1876. Was the founder of 
the American Water-color Society, serving as president and treasurer. 
It was to the efforts of Mr. Smillie and Dr. L. M. Yale, an amateur 
etcher of merit, that the organization of the New York Etching Club 
was effected. 

He etched almost the entire work on the large plates, "Childhood," 
''Manhood" and "Old age" after Cole's paintings entitled "Voyage of 
life." 

Upon the formation of the Painter-Etchers Society of London in 1860, 
(Sir Francis Seymour-Haden, president), he was made one of the "origi- 
nal" fellows. Representing American etchers, he made a collection of 
their productions and sent them to the first exhibition of that society 
in London. 

"He is possessed not only of the qualities needed by au original etcher, 
but the powers of adaptation" was said of him. 

Smith. Francis Hopkinson, b. Baltimore, Md.. October 23, 1838. He 
belongs to a family of artists, his great grandfather, Francis Hopkinson, 
a signer of the Declaration of Independence, was an amateur in water- 
color and his grandfather. Judge Joseph Hopkinson, was the first presi- 
dent of the Pennsylvania Academy of the Fine Arts. When a boy Mr. 
Smith began to paint and has made thousands of sketches and studies 



161 

in the open air. He not only seems at his strongest in charcoal but 
he prefers it to lead, to oils or to water-colors; as an artist he is sub- 
stantially self-taught. 

His paintings are all of a summer-like character. "Franconia Notch" 
is remarkably successful in the delineation of falling water and the 
moss-covered rocks which line the ravine. 

Of his views of Venice, Isham says : "They are not emotional, they 
are not subtle, -they are not "tonal," but they are very charming with 
their delicately colored skies, their luminous air, their soft sunlit 
marbles and clear cool shadows." 

"His water-color sketches have a softened brilliancy, a breadth of 
treatment and a simplicity that gives evidence of practical skill and 
carrying the idea that the effort was one of expression and that he has 
portrayed the scene just as it was at the time he sketched it." ( Nat. 
Cyc. Am. Biog. ) 

"In his cloud effects and in his representation of limpid water Mr. 
Smith shows very exceptional ability." (Book News 28.) 

He has achieved distinction as an artist, author, lecturer, critic play- 
wright, engineer ami expert bridge constructor. 

Smith, Jessie Willcox, Illustrator, b. Philadelphia, Pa. Educated in 
private schools; studied art at the Pennsylvania Academy of the Fine 
Arts and under Howard Pyle at Drexel Institute. 

Miss Smith was a kindergarten teacher until her health failed; she 
has been engaged as an artist and an illustrator since 1890 and her work 
is seen in all the leading American magazines. Her first actual work 
was in the advertising department of the Ladies' Home Journal. 

"Jessie Willcox Smith's particularity is the decorative use of every 
day subjects. She paints or draws in broad flat masses and is almost 
Japanesque in her use of the planes of her composition." (Bookbuver 
21.1 

"Her gardens smell of roses and old-fashioned blooms." 

The series of her pictures entitled "A mother's day" is an idyll of 
American motherhood: "Morning," "In the garden," "Checkers," "Bed- 
time." 

"Miss Smith's aim is definite and frank, her method vital and strong. 
and she is also a colorist of charm." 

In critically viewing the paintings in the American exhibit at the 
Koman Exposition of 1911, the Dowager Queen of Italy (herself a skil- 
ful painter) expressed special delight with the picture entitled "The 
dark," the work of this talented artist. 

Miss Smith's colored drawings of the children of Dickens have ap- 
peared in two series: 
21 



k;2 



"Tiny Tim and Bob Cratchit" 
"Paul Domby and Florence on 

the Beach at Brighton" 
"Little Nell and her grandfather 

at Mrs. Jarley's" 
"David Copperfield andPeggotty 

by the parlor fire" 



"Pip and Joe Gargery" 
"Jennie Wren, the little doll's 

dressmaker" 
"Oliver's first meeting with the 

artful dodger" 
"Mrs. Kenwigs and the four 

little Kenwigses" 



Favorite children's pictures are 

'•Among the poppies" 
"Five o'clock tea" 
''First dissipation" 
"First lesson" 
"First love" 
"First punishment" 
"First sermon" 
"Garden wall" 
"Green door" 



"Kittens" 

"Lesson in natural history" 

"Lily pond" 

"Miss Maria" 

"Mother" 

"New baby" 

"Spruce tree" 

"Three children" 

"When daddv was a little bov" 



Smith. Letta Crapo, b. Flint, Mich., July 1, 1862. Studied art at 
the Academie Julien. Paris; also pupil of Julius Rolshoven and George 
Hitchcock. 

Received bronze medal at St. Louis Exposition, 1004. for "The first 
birthday." 

This painting is now in the Detroit Museum of Art. Other works 
have been exhibited in Philadelphia, New York and Chicago. 

President Detroit Society of Woman Painters. 

Sperry, Edward Peck. Member of American Society of Mural Paint- 
ers, and New York Arch. League. Specialty, stained glass. 

Steele, Helen McKay (Mrs. Brandt T. Steele), b. Indianapolis, Ind. 
Pupil of T. C. Steele and William Forsyth. Specialty, portrait sketches 
and designs tor stained glass. 



Stephens, Alice Barber, Illustrator, b. Salem, N. Y., 1858. Was 
educated in the public schools of Philadelphia; art education in the 
Philadelphia School of Design for Women and in the Pennsylvania Acad- 
emy of the Fine Arts. I Ins been wood-engraver for Scribner's and illus- 
trator for Harper's. Century and other magazines; has also illustrated 
for the Ladies Home Journal, and taught portrait and life classes in 
the Philadelphia School of Design for Women. Although Mrs. Stephens 
has studied in Paris in the Academie Julien and at Colarossi's she re- 



163 

gards her development due to her Philadelphia instruction aud experi- 
ence in her own studio. 

There is a peculiar tenderness in her conception of childhood, entirely 
free from prettiness and sentimentality. 

"Alice Barber Stephens is a talent somewhat akin to Sterner. She is 
known for her imagination and facile powers of expression." i Hart- 
ma nn.) 

"Although nearly all of her pictorial compositions are constructed 
and executed with understanding, they are seldom spontaneously dra- 
matic and it is therefore in pictures of quiet scenes and rural incidents 
(hat Mrs. Stephens excels." She regards the illustrations for "Fishin' 
Jimmy" as among her most satisfactory achievements. The Bret Harte 
pictures and the illustrations for "•John Halifax, gentleman," and 
"Middlemarch" are in another vein and one in which Mrs. Stephens is 
not quite so convincing." 

The beautiful illustrations for James Lane Allen's "In Arcady" were 
made by her for that story at the author's own request. She was Conan 
Doyle's selection, also, of an illustrator for his "Stark Monroe" papers. 
(B. & P. 0:241.) 

Sterner, Albert Edward, Illustrator, b. London, England, November 
8, 1863. At the age of eleven, his family went to Birmingham, England, 
to live and he entered King Edward's School at the head of a competi- 
tive list of seven hundred students; took the prize in drawing and after 
studying at the Birmingham Art Institute, where he won a scholarship, 
went to Germay in his fifteenth year. When he was eighteen he came to 
his parents who had preceded him to Chicago. Here he took up litho- 
graphy, scene painting and drafting on wood for engravers and de- 
signers. 

In 1885 took up his residence in New York, where he illustrated for 
"Life," "St. Nicholas," and "Harper." Three years later went to Paris 
and studied at the Ecole des Beaux Arts and at Academie Julien under 
Boulanger and Lefebvre. Received honorable mention in 1891 for a 
painting in oil "The bachelor" exhibited in the salon, to which he was a 
regular contributor. Associate member National Academy of Design, 
L910. 

He has illustrated "Prue and I" by George William Curtis, works 
of Edgar Allen Poe and "Eleanor" by Mrs. Humphrey Ward. 

"He is an admirable painter, a soft, rich and brilliant colorist. This 
quality of color finds its way into his black and white. His chief 
quality is his artisticness. He is a conservative radical in art." (Quar- 
terly Illustrator Vol. '2. i 

Mr. Sterner has recently appeared in a new role — that of making por- 



104 

traits in red chalk — called by the French "sanguines." (I. S. 35:LIV.) 
Ernest Knaufft says: "The mantle of Edwin A. Abbey has fallen 
upon the shoulders of Albert E. Sterner, who is almost the sole repre- 
sentitive of sentiment in illustration. His technique is not so expert as 
that of Abbey . . . But at his best he far transcends the average illus- 
trator, and we find the genuine ring of art, the true poetic feeling domi- 
nating his productions." 

"Like Blake and Poe in their poetry, Mr. Sterner sets aside the rules 
of convention and breaks loose from the leading strings of schools, his 
touch now poignant, now languid, is the touch of a musician turned 
draughtsman, and the result is most elusive.'" 

Stevens. Mrs. Helen B., Etcher, b. Chicago, 111., February 8, 1878. 
Pupil of the Art Institute, Chicago, and of Frank Bragwyn in England. 
Teacher of etching at the Art Institute, Chicago. 

Stewart, Julius L.. b. Philadelphia, Pa., 1855. Was a pupil of Zam- 
acois, Gerome and R, de Madrazo. 

Received honorable mention at Paris salon, 1885; third class medal 
salon of 1890; gold medal, Berlin, 1891; grand gold medal, Berlin. L895; 
gold medal, Munich, 1897; Order of Leopold of Belgium, 1895; Legion 
of Honor, 1895, officer, 1901; grand gold medal, Munich, 1901. Asso- 
ciate Sociote Nationale des Beaux Arts, 1895; member, 1899. 

"In result of Fortuity's influence Stewart has become a thorough man 
of the world, a painter of society, and one of captivating grace, whose 
"Hunt ball" and "Five o'clock tea" were amongst the most refined pic- 
tures of the Paris Exhibition of 1889." (Miither.) 

Stilweu.. Sarah S.. Illustrator, is known as the delineator of fully 
clothed little girls, as for instance the pair investigating the lions' den 
in the back of a recent Harper. 

She was a student in the Drexel Institute in Philadelphia and owes, 
as do all the younger artists of this group, much to the instruction of 
Mr. Howard Pyle. She is a close observer of child life; has illustrated 
a new edition of Mrs. Dodge's "Rhymes and jingles" which shows her 
characteristic style. She rarely uses other medium than oil in her work. 

Her work is done in her Philadelphia studio. 

Stuart, Gilbert — "The painter of presidents" — b. Xarragansett. R. 
I., December 3, 1755; d. Boston, Mass., duly 27, 1828. Began painting 
at the age of ten and when thirteen years old was commissioned to paint 
portraits of Mr. and Mrs. John Bannister, which shows his early preco- 
city. His first tutor was a Scotch painter of some note, Cosmo Alex- 
ander, who came to Newport when the boy was fifteen. Two years later 






165 

Sluart traveled through the south with Alexander and later accom- 
panied him to Scotland where lie was established in the University of 
Glasgow and under the care of Sir George Chambers, but both peer and 
painter died within a short interval of each other, leaving Gilbert alone. 
friendless and penniless in a strange country; he worked his way back 
home, reaching his father's house in rags. 

In 1775 he went to England where through Benjamin West, who 
recognized his talent, he obtained much favor and distinction in London. 
He painted three kings and many celebrated people. His representa- 
tion of Kemble, the great actor, as "Richard the third/' is considered 
one of the strongest examples of brushwork ever produced in England. 
Returning to United States in 1792, he opened a studio in New York. 

His famous portrait of Washington — the "Athenaeum portrait" — 
now in the Boston Museum of Fine Arts, is the only one to be univers- 
ally accepted as a faithful likeness of the father of his country. The 
"Gibbs-Channing" Washington — the one showing the right side of the 
face — is in the Metropolitan Museum of Art. New York. 

(lilbert Stuart still holds his place among our best painters, and even 
among his great contemporaries in England. Tuckerman says: "His 
best portraits are glimpses of character." 

Sadakichi Hartmann has written: "The traits for which Stuart is 
most to be praised are the vitality and character he infuses into his 
portrait and the excellent coloring, when he is at his best. Then his 
flesh glows and is transparent. But he neglected composition, caring 
for nothing but the heads, slighting all details." 

Scllv, Thomas, b. Horncastle, Lincolnshire, England, June 8, 1783; 
d. Philadelphia, Pa.. November 5. 1872. His parents were actors and 
in 17!)2 with their family of nine children came from England to 
Charleston, South Carolina. Lawrence Sully, his brother, Avas a mini- 
ature painter in Richmond, Va., and in 1799 Thomas joined him and 
painted with him until his (Lawrence) death in 1804. 

In 1806 he removed to New York; for a short time resided in Boston 
for instruction from Gilbert Stuart. Studied under Benjamin West in 
London in 1809. Settled permanently in Philadelphia in 1810 and be- 
eame the most fashionable painter of the day. 

He visited England in 1837 and painted a full-length portrait of 
Queen A'ictoria. Between 1820-10 he exhibited ten portraits at the 
Royal Academy. 

At a historical portrait exhibition at the Pennsylvania Academy of 
the Fine Arts, 1887-88, Thomas Sully was represented by 106 pictures, 
"showing great versaility and extraordinary powers of conception and 
execution." 



166 

"He was skilful in his handling, with a feeling for warm, mellow 
color for beauty." (Isham.) 

"Sully is the connecting link between the dawn and meridian of Am- 
erican art." (Tuckernian.) 

"Thomas Sully was called the "Sir Thomas Lawrence of America."'' 
.... His general style is similar to that of the famous painter of Eng- 
lish women." 

Taft. Lorado, Sculptor, b. Elmwood, 111., April 29, 1860. Was edu- 
cated at the University of Illinois, where his father, Don Carlos Taft 
was a professor of geology. Completed his artistic training in Paris, 
studying at the Ecole des Beaux Arts three years. 

Mr. Taft has been instructor in the Art Institute of Chicago since 
L886; lecturer of art, university extension department, University of 
Chicago, L892-1902; professional lecturer on art since 1909. Associate 
member National Academy of Design. L909; full member 1911. His 
"History of American sculpture" is a standard work. 

The trustees of the Art Institute voted in October 1907 to commission 
Mr. Tafi to erect in Chicago his "Fountain of the Great Lakes." This 
fountain is the first large and purely ideal group erected in America. 
It represents the greal lakes typified by live beautiful female figures 
grouped on a pyramid of rocks pouring water from shells — "Superior" 
poised on the summit bending to the group of •'Michigan'* and "Huron," 
below are "Erie" and "Ontario." 

His figure of "Knowledge" reminiscent of his Parisian ideals, marks 
the close of his scientific period. 

"The solitude of the soul" — the first important expression of his 
renaissance — won the gold medal at the St. Louis Exposition. 

"The blind" suggested by Maeterlinck's "Les aveugles" — a group of 
blind people lost in the woods with one poor innocent babe the only 
hope of deliverance, symbolizes the great longing of all humanity for 
light and life The great beyond is veiled from humanity." 

Another importanl work is his colossal statue of Washington for the 
campus of the University of Washington at Seattle. 

.Mr. Taft is original, impressive, artistic and emotional. (I. S.:!.~) : 
xli. Cur. Lit. 44:515.) 

Tanner, Henry Ossawa, b. Pittsburg. Pa.. June 21, 1859, the son of 
Bishop B. T. Tanner of the African Methodist church, is an Afro-Ameri- 
can painter who has become famous in Paris. He studied in the Penn 
sylvania Academy of the Fine Arts under Thomas Eakins; was a pupil 
of Jean Paul Laurens and Benjamin-Constant, Paris. Is a member of 
the Paris Society of American Painters, and Societe Internationale 







HENRY OSSAWA TANNER. 



168 

Peinture et Sculpture, Paris; associate member National Academy of 
Design, 1909. 

Since 1895 has exhibited every year in the Paris salon. His first 
work was "The sabot maker." In 1896 he entered his "Daniel in the 
lions' den'* which received honorable mention. In 1897 he showed 
''Raising of Lazarus" which won a medal and was purchased by the 
French governmenl for the Luxembourg; "Christ and the disciples at 
Emmaus" has also been placed in the Luxembourg. 

In 1898 "The annunciation" was exhibited and proved one of the suc- 
cesses of the year. "The picture has spirituality so far that it suggests 
the mystery of the conception." (Caffin in "Artist" 24:xiv.) 

In 1900 he showed "Nieodemns coming to Christ." In his "Flight of 
Judas" his idea of dramatic power seems to be carried to the most force- 
ful expression yet achieved; it has the accent of inspiration." (Outl. 
<;4:7!>6.) 

His "Five wise and five foolish virgins" was given a place of honor in 
the salon of 1908. 

.M. M. Benjamin-Constant, (Jerome, and in fact all the leaders of 
French painting today have recognized Mr. Tanner a true artist and 
man and have come to esteem him for his personal qualities as for those 
which he has shown in his work. 

An eminent art critic says: "In religions feeling Mr. Tanner seems 
nearer to Fra Bartolommeo than to any other artist past or present." A 
marked and welcome quality in all his pictures is atmosphere. 

Tarbell, Edmund C, b. Groton, Mass.. April 26, 1862. Pupil of 
Grundmann at the Museum of Fine Arts, Boston; also studied under 
Boulanger and Lefebvre in Paris. Has been instructor in drawing and 
painting in the Boston Art Museum since 1889. Has been awarded 
many prizes Tor his paintings including Pennsylvania Academy of the 
Fine Arts medal of honor. 1908, and gold medal of the National Acad- 
emy of 1 )esign. 1908. 

Is a member of the Ten American Painters. Associate member Na- 
tional Academy of Design, 1894; full member, 1906. 

Tarbell's interiors compare favorably with the paintings of the famous 
Dutch painters and none better than he has pictured our contemporary 
home life. Sunlight and atmosphere pervade the rooms which Tarbell 
pictures. "To Tarbell his art is primarily, almost exclusively, a medium 
of expression of abstract beauty." 

Philip A. Hale, the well-known artist critic, wrote in 1808: "Tar- 
bell's "Venetian blind" is the best picture that has been done in Am- 
erica" and the jury of the Carnegie Institute endorsed this opinion by 
awarding the picture the gold medal. 






1G9 

Caffin said: "Girl reading" seems a lesson in the holiness of beauty. 
His art, in fact, has the quality of symbolism by which the modern 
mind is endeavoring to interpret "the substance of things hoped for, 
the evidence of things not seen." His vigorous, dashing brush work is 
always sure to attract attention. This was the principal merit of his 
prize picture — "The bath." 

"Tarbell's characteristics are brilliant versatility, dexterity with the 
brush, and spontaneousness of effect; all regulated by innate good taste. 
for he has little or no reserve power." (Caffin, The Artist. 27:xxvii.) 

Frederic W. Colburn, in an appreciative article on Tarbell, says: 
"Among various groups and factors of painters and by the public at 
large, he has come to be regarded as among the most able of living 
painters." 

In writing of "Girl reading," Julia de Wolf Addison, says: "Tarbell 
is past master in making intentional effects appear quite accidental, 
giving this picture a peculiarly natural and easy quality both in color 
and form." 

"Tarbell regards the human brain merely as a medium for 

perceiving effects of light." (Muther.) 

Kenyon Cox has written : '"In the work of Mr. Tarbell there is an 
elegance of arrangement, a thoroughness in the notation of gradation 
of light, a beauty and a charm that were learned of no modern." 

Taylor, William Ladd, Illustrator, b. Grafton, .Mass.. Dec LO, L854. 
Educated at Worcester, Mass.. and in art schools of Boston and N. Y. 
and studied 1884-85 under Boulanger and Lefebvre. Paris. Traveled ex- 
tensively, making a particular study of mediaeval architecture, costumes 
and customs. Settled in Boston 1888, and has since that time been a 
well-known painter and illustrator. 

The work which has given Mr. Taylor most reputation, and rightly, 
is his illustration of Owen Meredith's poem entitled "The Earl's return." 

Illness and a year's sojourn in Colorado resulted in several paintings 
of the Rocky mountains: "The Caribou hunter" and "Shooting the 
Rapids" are excellent works of the period. 

Recent works as an illustrator are selections from Longfellow's poem, 
the psalm series, a series of New England scenery, and a book of pic- 
tures of American life. 

"The boy Christ" "The building of the ship" 

"Evangeline" "The golden legend" 

"Minnehaha and Hiawatha" "Priscilla and John Alden" 

"The village blacksmith" "Rosita" (Illustrating Bret 
"The hanging of the crane" Harte's "The mystery of the 

"Maidenhood" Hacienda" ) 

"The old clock on the stairs" "The children's hour" 



170 



Psalm series 



"When I consider the heavens." (Ps. viii.) 

"The Lord is my Shepherd." (Ps. xxiii.) 

"When I meditate on Thee in the night watches." (Ps. lxiii.) 

"He shall give his angels charge over thee." (Ps. xci.) 

"I will lift up mine eyes unto the hills." (Ps. cxxi.) 

"Children are an heritage of the Lord." (Ps. cxxvii.) 

Thayer. Abbott Henderson, b. Boston, Mass., August 12. 1849. Be- 
gan to draw and paint before he was ten years old. Was educated at 
Chauncy Hall School, Boston, and before he was eighteen received as 
much as fifty dollars for dog-portraits. 

He was first known in New York as an animal painter and it was 
not until he went to Paris (1875) and studied in the Ecole des Beaux 
Arts under G^rome and Lehmann that he began to make portrait paint 
ing a specialty and to do some landscape work. Is a member of the 
Academia de San Luca, Rome and of the National Academy of Design, 
New York. 

"Sleep," an idealized likeness of his eldest daughter as a sleeping 
infant, was one of Mr. Thayer's earliest pictures to attract general 
attention. His three masterpieces are "The virgin." "The virgin en- 
throned" and "Caritas." (His children were his models, i 

His chief work is the finely conceived mural decoration in Bowdoin 
College, Brunswick, Maine, — a fresco representing "Florence" forms 
one of four lunettes. 

A few landscapes are: "Sketch of Cornish headlands." ""Capri," 
"Monadnock in winter." 

The keynote of his art is simplicity and the chief characteristic of 
the subjects he chooses is a deep spirited meaning. 

Hartmann says: "Abbott Thayer's work occupies indeed a strange 
position in the world's art. If is a modern combination of the inward- 
ness of the middle ages and the vagueness of the orient. His pictures 
take the place of the old religious symbols .... and yet they are im- 
bued with so devout a spirit that they could be used as shrines for wor- 
ship in modern homesteads, reminding us of all that is good and noble 
in human race." 

Craftsman: "He paints symbolical figures ami groups of great 
beauty in an austere but impressive style." 

"Neither a specially good colorist nor a finished technician, he yet 
gets into his pictures a kind of sculpturesque dignity which invariably 
lifts them above the general mass, i I. S. vols. <» & -V.). \ 

Thayer, Theodoka W., Miniature painter, h. Milton. Miss.. L868; d. 



171 

August 6, 1905. Studied with Joseph DeCamp, Boston, and was an 
active member of the American Society of Miniature Painters and of the 
Copley Society of Boston; taught for several years in the New York 
School of Art and was one of the instructors at the Art Students 
League ; was recognized as one of the best of teachers. 

Her fine portrait of Bliss Carman is one of the memorable achieve- 
ments in American miniature painting. At one of the society's exhibi- 
tions, she showed "a wee miniature of a wee speck of humanity, a baby's 
head painted in a cloud of sweet mist." (B. & P. 6:26.) 

Her work is wonderfully full of character and charm. She painted 
with grace and nobility of treatment. 



Tiffany. Louis Comfort, Stained-glass designer, 1>. New York, Febru- 
ary 18, 1818. Pupil of George limes and Samuel Colman in New York, 
and Leon Bailly in Paris. Received gold medal for applied arts at the 
Paris Exposition. 1900; elected chevalier of the Legion of Honor of 
France, 1900; grand prize at Turin Exposition, 1904; A. N. A.. 1ST! : 
N. A., 1880. Is art director of the Tiffany studios. 

It is Mr. Tiffany's achievement in stained glass work that has brought 
him world fame. It is acknowledged by all experts that the great ad- 
vance made in this country in both colored windows and wall mosaic 
work is largely due to the discoveries and inventions of Mr. Tiffany, par- 
ticularly that of Favrile glass. He has received many personal honors, 
such as being made a member of the Soeiete National des Beaux Arts. 
Paris, also of the Imperial Society of Fine Arts, Tokio, Japan. 

In painting. Mr. Tiffany makes a specialty of oriental scenes. Well- 
known subjects in oil : 



"Street scene in Tangiers" 
"Feeding the flamingoes" 
''Dock scene" 
"The cobblers at Boufarick" 



"Market day at Nuremberg" 
"Study of Quimper, Brittany" 
"Duane street, New York" 



Trumbull, John, b. Lebanon, Conn., June <i. 1T.~<; ; d. New York, 
November. 1843. The son of the colonial governor of Connecticut. Jona- 
than Trumbull, he was the greatest historic painter of America. A gradu- 
ate of Harvard University, his artistic taste was awakened by familiarity 
with the portraits of Copley and Smibert. He served with distinction in 
the armies of Washington and dates. Early in 1777 he resigned from 
the army and devoted himself to art as a profession, going to London. 
In 1781 he conceived the idea of his historical pictures of the revolution 
and went to Paris where he painted his "Declaration of Independence" 
assisted by the information and advice of Thomas Jefferson. 

In 1789 he returned to America. As an inaugurator of serious histori- 



172 

cal painting, Trumbull bore a very worthy part, and he carried portrait- 
ure to its highest limits by making portraits from life for all the chief 
figures introduced into his canvases. His portrait of General Wasington 
(in the New Haven collection) must be regarded as a standard portrait 
of the father of his country. When Lafayette first beheld a copy of this 
picture on his visit to this country in 1821. he was delighted with its re- 
semblance. Tuckerman says: "The most spirited portrait of Washing- 
ton that exists — the only reflection of him as a soldier of freedom in his 
mature years, worthy of the name, drawn from life — is Trumbull's." 

Trumbull was commissioned to paint four of the eight commemorative 
pictures in the Capitol at Washington. He was eight years at the task 
and received $32,000 for the four paintings: 

"Declaration of Independence" "Surrender of General Bur- 

"Surrender of Lord Cornwallis" goyne" 

"Resignation of Washington" 

Other important historical paintings are: ''Battle of Bunker Hill," 
"Heath of General Montgomery," "Battle of Trenton,'" "Battle of Prince- 
ton." 

"Trumbull's works still hold their rank not only for their historical 
interest but for their artistic merit.'" Critics rank his "Death of Mont- 
gomery" as the most spirited battlepiece ever painted. His portrait of 
Alexander Hamilton is one of the best portraits he ever did. 

Trumbull was the first president of the Academy of Arts. New York. 

Luvox. Dwight William, b. Hartford. Conn., August 13, 1840. Pupil 
of C. Daubigny, Jacquesson de la Chevreuse. A. Guillemet and H. Harp- 
ignies in Paris. Received gold medals of the American Art Association. 
New York, 1886 and 1887; third Hallgarten prize of the National Acad- 
emy of Design, Xew York, 1887; gold medal of Carnegie Institute, Pitts- 
burgh, 1898; was awarded the Webb prize in 1889 for his "First leaves." 
and first- class medal at the Munich International Exposition in 1892 for 
his "Rising moon." Is a member of the National Academy of Design, 
New York, and professor of art in Smith College. 

"He masters, like no one else, the uncertain tonalities of dawn and 
twilight. Tryon's pictures are almost, literally speaking, musical in their 
effect, not unlike the pizzicato notes on the "A" string of a violin. His 
parallelism of horizontal and vertical lines is like melodic phrasing 

Tryon has reached the calm perfection of Japanese art." (Hart- 

mann. i 

Characteristic color melodies: 



173 

"Before sunrise — June" "October" 

"A lighted village" "December" 

"Sea — morning" "Twilight" 

"Sea — sunset" "The evening star" 

"Sea — night" "Springtime" 

"Day break" "Summer" 

"Morning" "Autumn" 

"Moonlight" "Winter" 

"April morning" "New England hills" 

Mr. Tryon has added much to the world's stove of poetic interpreta- 
tion of nature. Equally refined as his "poems of early spring" are his 
moonlight scenes and his snowy landscapes. He has interpreted sunsets, 
storms, mountains and rugged nature with as powerful a brush as any 
painter. 

"In his pictures may be seen, as in Daubigny's. a silvery grey atmos- 
phere against which the tracery of young foliage stands out in relief, 
green shining meadows and softly rippling streams, cornfields, apple- 
trees and fruit gardens." (Muther.) 

Turner. Charles Yardley, Mural painter, b. Baltimore, Md., Novem- 
ber 25, 1S50. In 1S72 went to New York and entered the National Acad 
emy of Design; after spending three years in the school and taking a 
bronze medal and a money prize, he went to Paris and studied under 
Laurens, Munkaczy and Bonnat. In Holland lie found the subject of his 
famous picture "The grand canal at Dordrecht;" his best water-color is 
"1 )ordrecht milkmaid." 

- Mr. Turner was assistant director of decoration at Columbian Exposi- 
tion, Chicago. 1893, and director of color at the Pan-American Exposi- 
tion. Buffalo, 1901. Is a member of the National Academy of Design. 

His finest mural work is a series of wall paintings in the corridor of 
the Baltimore Court House, the subject of which is the incident of the 
brig Peggy Stewart entering the harbor of Annapolis in 1774. 

His Puritan subjects are particularly fine, and great favorites. Most 
noted are : 

"Courtship of Miles Standish" "The bridal procession" 

"John Aldeifs letter" ".Martha Hilton" 

Mural work is in Manhattan Hotel. Waldorf-Astoria Hotel, Hotel 
Martinique, and Bank of Commerce Building, New York. 

Twachtman, Joiix Henry, b. Cincinnati, (.).. August 1, 1853; d. (Glou- 
cester, Mass., August 8, 1902. Pupil of the National Academy of Design, 



174 

New York, and of Frank Duveneck in Munich and Italy; studied also at 
the Academic Julien and under Boulanger and Lefebvre, Paris. 

Won the Webb prize, 1888; Temple gold medal, 1895. Was a member 
of the American Art Club, Munich. In 1898 he founded the organization 
known as the Ten American Painters.' 

Caffin s;ivs: "In his "Brook in winter" it is the soul, as it were, of 
the still cold dormant world that he has rendered. Never has been 
better expressed through the subtle resources of modern methods of 
painting the suggestion of the abstract." 

His artistic qualities are also well represented in 

"The hemlock pool" "The end of winter" 

"Drying sails" "Round Hill road" 

"The torrent" "Landscape in spring" 

"He recognized as few can, the poetic side of snowy pastures and 
snowbound woodland rills and marshes. His painting of the damp 
winter weather surcharged with latent snowfall has never been sur- 
passed." ( Innes "Schools of painting.") 

In his handling of the elements of natural scenery, particularly in 
representing snow upon the branches of trees, he shows a high degree of 
skill. (Nat. Cyc. Am. Biog.) 

From "An appreciation'' published in the North American Review 
shortly after the death of Mr. Twachtman, the following extract is made; 

" I n defining the quality of Twachtnian's paintings, one would say that, 

first of all he was a master of "values" — as much so as Whistler 

One of his paintings instantly arrests the eye of the connoisseur by a 
certain aspect, as original as Thoreau, and sometimes curiously like him," 
(T. W. Dewing.) 

"The great beauty of design which is conspicuous in Twachtnian's 
paintings is what impressed me always .... His use of line was rhy- 
thmic, and the movements were always graceful His work as 

color had delicate refinement and truth." (Childe Hassam.) 

"He painted as all men have done who have made great art; he painted 
the atmosphere of his time." (Robert Reid.) 

"In the death of John H. Twachtman we lose one of our best land- 
scape painters . . . The canvases which Twachtman has left us like all 
work of signally original merit, may prove for a time too fine a food for 
the general palate." (Edward Simmons.) 

"To my mind, he was in advance of his age to the extent that like many 
others, he lived ahead of his epoch." (J. Alden Weir.) 

None of our landscape painters surpasses him in subtle delineation of 



* Society of the Ten American Painters was organized January. 189S. No particular aim 
except that of exhibiting independently of juries once a year. Original members: Benson, 
DeCamp, Dewing. Hassam, Metcalf, Reid. Simmons. Tarbell, Twachtman, Weir. 



175 



atmospheric effects and values generally. To many art critics, Mr. 
Twachtman ranks as the greatest American landscape painter. 

Vail, Eugene, was born of American parents at Saint Servan, Brit- 
tany, September l m .>, 1856; studied in Art Students League, X. Y.. under 
Carrol Beckwith and William M. Chase and at Ecole des Beaux Arts 
Paris under Cabanal, later under Dagnan-Bouveret and Raphael Collins. 
Medals, prizes and distinguishing honors have come to Mr. Vail in 
recognition of his artistic ability. 

Four scenes of seafaring life, very beautiful in color and among the 
very strongest and best pictures of the kind at the Paris Exposition. 
1900, were "Ready about," "Port of Concarneau," "The widow." and 
"On the Thames." 

Other admired works are: 



"The hour of prayer" 
''Evening in Brittany" 
"Autumn near Beauvais" 
"Chemin de foi" 



"A rainy day" 

"Twilight" 

"Rio del la .Madonetta. Venice" 



Vail's landscapes are marked by an exquisite sense of nature, at once 
delicate and full of force. The fisherfolk of Brittany are a favorite sub- 
ject with Vail, as are the Dutch peasants with Melehers. 

Miither says that Vail was influenced by Mesdag and DeNittis in his 
Dutch sea-pieces and pictures of the port of London, which are shrouded 
in a heavy, melancholy mist. 

Caffin says: "Eugene Vail while seeing into the soul of his subjects, 
views it with a personal sympathy and interprets, so as to speak, in 
terms of spirit rather than matter. That is to say. he does not compel 
your attention to the physical properties of the figures and the land- 
scape; he envelops the whole in atmosphere, enriching it with somber 
but tenderly impressive harmony of color; so that the picture is as full 
of mystery as of suggestion. It puts us into spirit-communion with the 
place and its inhabitants; which as I understand it, involves a superior 
knowledge and at the same time an acknowledgment of how much there 
is unknowable. It represents the vision of a poet." 

Vedder, Elihu — "The painter of the mystic'' — b. New York, February 
26, 1836, of parents whose ancestry is in the Netherlands. It is related 
that as a child he chewed sticks into brushes and spent his money for 
cheap paints. Very early he received instructions in art and in 1856 went 
to Europe, spending the winter in Paris studying in the atelier of Picot. 
In the following spring he went to Italy and spent four years there; re- 
turning to the United States in 1861 he opened a studio in New York. 



170 

He was elected an associate member of the National Academy of Design 
in 1803; full member in 1865. 

Mr. Tedder returned to Rome in 1866 where he has since resided rarely 
exhibiting in the United States. 

"A note of mystery, a recognition of the infinite and unknowable forms 
a characteristic of Vedder's work .... It is calm, virile, intellectual, 
a mystery of which Darwin and Huxley might well approve." (Isham.) 

Julia de Wolf Addison says: "His message seems to embody the 
spirit of the past; not alone the classical, not alone the mediaeval, nor 
the renaissance, but in a subtle manner all his own he makes his ad- 
mirers feel the atmosphere of all these fused together " 

Vedder's "Head of Lazarus" is the best representative of his decorative 
art; "Sea serpent" shows his naturalistic painting, and in his "Sphinx" 
he becomes realistic in portrayal. Of his "Keeper of the threshold" an 
enthusiastic admirer says that if it is possible for a picture to hypnotize, 
he feels sure that this one has such power. "Its fascination for me is as 
strong even yet, and I am still under its spell though an ocean lies be- 
tween us." 

"Compositions like "The refuge" are full of deep suggestions and wierd 
attempts in psychology of color." (Hartmann.) 

A few other characteristic paintings are: 

"The African sentinel" "Cumean sibyl" 

"The monk upon the gloomy "The lost mind" 

path" "The crucifixion" 

"The death of Abel" "A Greek actor's daughter" 

"A scene on the Mediterranean" "Young Marsyas" 

His illustrations of Edward Fitzgerald's translation of the "Kubaiyat" 
of Omar Khayyam, published in 1884, won him world-wide renown. His 
mural work at Bowdoin College and in the Library of Congress, Washing- 
ton, has that peculiar element of personality which is so true in its im- 
port and yet so mysterious and eluding when trying to define its char- 
acter. 

Elizabeth Luther Cary says : "His human forms are the abodes of 
foreign spirits, great unhumau powers personified . . . His mind is of an 
austere tendency and he holds us to the contemplation of these abstrac- 
tions with an almost noble, but seldon fiery, line and without allurements 
of color or surface." 

In 1880 an art review said: "If it be the mission of an original talent 
to bring into the world not peace but a sword, A'edder has had the com- 
pliment of creating this kind of a disturbance." 

Mr. Vedder is a painter of ideas. His style is naturalistic as relates 
to truth of illustrating, but ideal and intellectual in motive. (Jarves 
"Art idea.") 



177 



Yolk, Dotjqlas, b. Pittsfield, Mass., February L''>. 1856. When fourteen 
years of age accompanied his parents to Rome where he became inter- 
ested in painting and studied in the Saint Luke Academy. In 1S7:! 
studied in Paris with (Jerome. His "In Brittany" was exhibited in the 
salon of 1875. 

He was instructor in Cooper Institute, New York, 1879-84. Has been 
awarded many medals and prizes. Was elected associate member of 
the National Academy of Design, New York, in 1898; full member, in 
1899. 

Writes and lectures on the subject of art with a view to the intro- 
duction of more artistic methods and a higher standard of teaching as 
opposed to the usual mechanical system in art institutions. 

"Mr. Yolk is a figure painter who relies upon the subject of his work 
to suggest Americanism." 

Generally lie paints a bit of the pine forest, rude and solemn, and 
places in it a girl or boy with such differences of motive as are suggested 
by the titles. 



"Song of the pines" 
"The woodland maid" 
"A winter walk" 
"The boy with the arrow*' 
"A colonial youth" 



"Thoughts of youth" 
"Accused of witchcraft" 
"Young pioneer" 
"A belle of the colonies" 



"The spirit of the nation's past and of ils best hopes for the future 
seems to be figured in these types." (The Artist l ,( .) :xx. i 



Yoxxoii. Bessie Potter, i Mrs. Robert W. Vonnoh), Sculptor, b. St. 
Louis. Mo., August 17, 1S72. Pupil of Chicago Art Institute under 
Lorado Taft. Spenl four months in Paris in 1895 and four months in 
Florence in 1S!)7. Was married to Robert William Vonnoh, a painter, 
September 17, 1899. Is a member of the National Sculpture Society. 
Was elected an associate member of the National Academy of Design in 
1906. 

Mrs. \ onnoh's specialty is modeling diminutive portraits. Her work 
is suggestive of the figurines done in terra cotta by the sculptors of 
Tanagra. whose work was entirely unknown to her when she began her 
little figures. She presents modern life and modern costumes and condi- 
tions. Her work is impressionistic, suggesting character without ex- 
pressing it. "At her best the figurines are a joyous and lovely expres- 
sion of a charming side of our life. They are like flowers in their poise 
and delicacy and in their exquisite fragility." 

The Dancing girl," the personification of the modern skirt dance, has 
grace and rhythm, and the "Young mother" is the finest thing she has 
23 



ITS 

ever done. A little bust called "Mildred" is charming and shows an inti- 
mate knowledge of character; and a recent figurine of a little girl who is 
industriously engaged in eating a potato with a wooden spoon is delight- 
ful, and suggests Boutet de Monvel "In its frank acceptance of the 
peculiarities which are really the charm of childhood.'' ( B. & P. 2:29.) 

Yoxxon, Robert William, b. Hartford, Conn., September 17, 1858. 
Pupil of Massachusetts Normal Art School, Boston, also of Academie 
Julien, Paris under Boulanger and Lefebvre. Instructor Massachusetts 
Normal Art School, Boston, Cowles Art School, Boston, Boston Museum 
of Fine Arts, Pennsylvania Academy of the Fine Arts; X. A.. 1906. 

Exhibited at the salons of 1888, 1889, 1890, 1891. Received honorable 
mention, 1888; medal at Paris Exposition, 1889. Exhibited several years 
at Munich expositions. Specialty, portraits. 

After studying at Grez sur Loing, near the Forest of Fontainebleau 
he said : "1 gradually came to realize the value of first impressions and 
the necessity of correct values, pure color and higher key, resulting in 
my soon becoming a devoted disciple of the new movement in painting." 
(Nat. Cye. Am. Biog.) 

Two highly decorative compositions are: 
"Hydrangeas" "In costume" 

Walden, Lionel, b. Norwich, Conn., May 22, 1862. Studied with Caro- 
lns I >uran, Paris. Received honorable mention in the Paris salon; silver 
medal at Paris Exposition. 1900; third-class medal in salon of 1903. 

Represented in the Luxembourg Gallery, Paris. Memorial Museum, 
Philadelphia, and Art Gallery. Cardiff, Wales. 

Member of the Societe Internationale de Peintnre et Sculpture, 
Societe de Peintre de Marine Paris, and Society of Paris American 
Painters. 

A noteworthy American in Paris, Mr. Walden is a painter of marine 
scenes and a proficient delineator of shipping and harbor life; has also 
painted some figure aud lanscape subjects, such as: 

"The torrent" "Out for a sail" 

"The end of winter" "Summer evening" 

"Night on the Mount of Olives" is one of his pictures exhibited in the 
Paris salon. 

Walker. Henry Oliver, b. Boston, Mass., May 11, 1843. After a com- 
mon school education he took up mercantile pursuits, but soon gave up 
this line of work for the profession of art. going to Paris in 1879 to study 
under M. Bonnat. Returned to United States three years later; settled 
in Boston but later removed to New York City. 



171) 

Member of the Society of American Artists and of the National Acad- 
emy of Design. In 1804 he received the Shaw fund prize for "The 
singers," and the following year, the (Mark prize for "A morning vision." 
"The boy and the muse" is another celebrated picture. Aside from his 
reputation as a figure painter, Mr. Walker is well-known for his achieve- 
ments in mural painting. His best wall decorations are to be seen in the 
Library of Congress, Washington, I). <\, Appellate Courts, Xew York; 
the .Massachusetts and Minnesota state capitols. 



Walker, Horatio, b. Listowel, Out.. 1858. Studied miniature painting 
under J. A. Fraser, Toronto, also in New York. Has been awarded 
medals at exhibitions in Paris and United States. Member of the Royal 
Institute of Painters in Water-colors, England; member of the National 
Academy of Design, New York, 1891. Largely self-taught, his achieve- 
ment constitutes one of the most notable conquests in the history of art. 

He paints the rustic life of the peasant types on the Isle of Orleans in 
the St. Lawrence river. Walker's subjects are the same as Millet's but 
Walker treats them in a more impersonal manner. "To Walker these 
peasants going to their daily tasks are a symbol of the eternal stability 
of life, of a quiet harmony with nature's laws." 

"Horatio Walker handles his brash broadly. His color is always rich, 
pure and true, whether inclining to the sombre and deeper notes, or to 
brighter keys where it is joyous and vibrating, full of the intimate charm 
of sunshine." He combines realism and classicism to a decorative as well 
as suggestive art, which satisfies the most modern taste. 

Characteristic works : 



'•Morning milking" 

"Wood cutters" 

••( )xen drinking" 

"Shepherdess and sheep" 

"Sheepfold" 

"Tree fellers" 

"A spring morning" 



"Man felling a tree" 
"The potato pickers" 
"Girl feeding turkeys" 
"A summer pastoral" 
"The harrower" 
"Hauling the log" 
"Sheepyard — moonlight" 
"The thresher" 



Walker's art while immediately concerned with the local and indi- 
vidual character of that portion of the visible world he has chosen for 
his particular study, is concerned also with beauty in the abstract, and 
with the psychological relation of what is finite and temporary to that 
which Ave conceive to be universal and eternal. (Caffin.) 

"Harmony is the word which sums up the character of Walker's art; 
he interprets in harmonies of color." 



180 

Mr. Walker exhibited at the Royal Academy, London, in 1901 and of 
one of the collection, a leading art journal said: "Mr. Horatio Walker 
shows ;i Millet-like realism which is yet charged with poetry. Charm, 
the outcome of power, and not of mere desire to achieve the pretty, is 
the characteristic of this water-color. England should give welcome to 
Horatio Walker. 1 ' 

Ward, John (}. A.. Sculptor, It. near Urbana, Champaign Co., Ohio. 
L830; d. New York. May 1, 1910. Displayed a talent for plastic art at an 
early age. Studied under H. K. Brown in Brooklyn, X. Y., remaining 
his pnpil for six years. In 1857 made his first sketch for "The Indian 
hunter" now in Central Bark, New York, studying his subjects in the 
aboriginal state. In L861 opened a studio in New York; was elected asso- 
ciate member of the National Academy of Design in 1862; full member 
in 1863 and president in 1S74. 

In 1866 he executed the group of "The good Samaritan" mow in Bos- 
ton) in honor of the discovery (if anaesthetics. In 1867 presented his 
design for the Shakespeare statne in Central Bark. New York. 

His "Freedom" is now on the steps of the capitol at Washington. Of 
this work. Janes says: "We have seen nothing in our sculpture more 
soul-lifting or more comprehensively eloquent." 

Tuckerman says: "Although .Mr. Ward has never practiced modeling 
in any academy or foreign or famed studio, he has labored with rare 
assiduity to master the principles of his art. He understands proportion 
and anatomical conditions." 

In the field of portrait statuary, Mr. Ward is one of the masters of the 
day. Perhaps his finest achievement in this field is the statue of Henry 
Ward Beecher which stands in front of the Courthouse, Brooklyn. N. Y. 
Other triumphs are "Horace Greeley," "Lafayette" at Burlington. Yt.. 
monument to President Garfield and equestrian statue of General 
Thomas, Washington, I). C. 

"Mr. Ward is essentially a sculptor His technique may lack 

at times that charm of surface manipulation in which his younger col- 
leagues excel, but it always shows a quiet simplicity, an impressiveness of 
mass, which is the first element in good monumental sculpture. (Taft's 
"History of American sculpture.") 

Warner, Olin L., Sculptor, b. West Suffield, Conn., 1N44; d. New York, 
August 14. 1896. The son of an itinerant Methodist minister, it was not 
until 1869 that he was able to sail for Europe. He went to Paris and 
studied sculpture in the Ecole des Beaux Arts under Jouffroy and after- 
wards in the studio of Carpeaux, making the acquaintance of Falguiere 
and Mercie. He returned to New York in 1872 and was one of the origi- 



181 

na] members of the Society of American Artists. Associate member Na- 
tional Academy of Design, L888; full member, 1889. 

Among his most important works arc statuettes entitled "May" and 
"Twilight," a colossal medallion of Edwin Forrest, a bust of ■). Alden 
Weir I which excited profound admiration in the Paris salon) and the 
beautiful fountain in Portland, Oregon; also the fountain and spandrel 
figures for the entrance of the Library of Congress, Washington, D. C. 

"Mr. Warner was our most classic sculptor, a pedant in taste but 
quite modern in his technique." (Hartmann.) 

His short career as an artist was sufficient to place him among the im- 
mortal masters of sculpture — those who have created a style of their 
own." (Nat. Cyc. Am. Biog.) 

"His portrait of William Lloyd Garrison is among the best that our 
country has produced." ( Taft. ) 

Washburn, Cadwallader, Etcher, 1>. Minneapolis, Minn. Pupil of Art 
League X. Y., under Mowbray and rhase; Joaquin Sorolla in Spain. 
Received second prize Paris A. A. A. An artist whose paintings were 
well-known in leading art centers of Europe, it was in the year L903 
that Mr. Washburn first employed etching as a mode of expression. A 
series of Venetian plates revealed his harmony with the medium, and 
admitted him to the ranks of painter-etchers. 

The direct influence of Sorolla is far reaching, for not the least dis- 
tinguishing quality of his plates, strikingly illustrated in the Mexican 
series, is his masterly interpretation of atmosphere and sun. His plates 
classify naturally: 

Italian set — Venice, Padua and Verona — serves as his introduction; 

Japanese portifolio, etched in 1904; 

"The Norlands" a series of landscapes; 

A group in Havana; Cathedral of Old Mexico. 

With the passing of the master Seymour-Haden, recent attention has 
been called to the school of landscape etching. With the exception of a 
few scattered plates, Mr. Washburn is the only American in the list of 
the younger men to turn a sustained interest to landscape subjects. 

It is of significance that he has revealed powers capable of worthily 
upholding its traditions in America. 

Waugh,, Frederick Judd, b. Bordontown, N. Y., September 13, 1861. 
A painter of American marines, conies from a family of artists; his 
father S. P». Waugh, was a Philadelphia portrait painter; his mother, 
Eliza Waugh, was a miniature painter, and his sister, Ida Waugh, is also 
a portrait painter and an illustrator of children's books. 

Ai eighteen he began the study of art in the Pennsylvania Academy 



182 

of the Fine Arts under Thomas Eakins, after that he went to Paris and 
worked in Academie Julien under Bouguereau and Robert-Fleury. 

Associate member National Academy of Design, 1909; full member, 
1911. 

The first beginnings of his marine work were laid while he lived on the 
Island of Sark, Channel Islands. He crossed the ocean frequently, thus 
familiarizing himself with every changing aspect of the water ; and he 
also acknowledges the fact of his having spent much time at miniature 
portrait, decorative work, landscape and figure painting, has given him 
strength and power in his marines. 

"The surf off Cape Ann" is a powerful marine; this is permanently 
] »laced in the National Academy of Design, New York. 

Other marines are : 

'"The great deep'' "A heavy sea" 

''Outer surf" "Little harbor, Bailey's Island, 

"Roaring forties" Maine" 

"Incoming tide" "Docks at Gloucester" 

Kenyon Cox says: "Mr. Waugh is an objective painter, a cool ob- 
server, who draws his waves and foam-loops with great accuracy, and 
colors them with much truth, but does not quite succeed in conveying 
the illusion of force and motion. He tells us much about the sea, but he 
has not Homer's capacity for abstracting two or three essential qualities 
and expressing them with overwhelming vigor." 

Mr. Waugh has a wonderfully trained "eye memory" and he produces 
his seascapes from memory. "He declares that if he never saw the sea 
again he could still go on painting it and constantly improving in his 
representations." (Art and Decoration, Jan. 1911.1 

The real idealized is the art of Frederick Judd Waugh. 

Webstkk, Herman A., Etcher, b. New York City. 1878. Family home 
is Chicago; occupies a studio at No. 0, Rue Furstemberg, Paris. Gradu- 
ated from Yale University in 1900 and in October of that year went 
abroad. After a winter in Paris among the studios and artists of the 
Latin Quarter, he joined Burton Holmes and Senator Albert J. Bever- 
idge on a trip to the Orient. Returning to United States he engaged in 
commercial work also doing journalism in the office of the Chicago 
Record-Herald. 

In February 1901 he returned to Paris and eutered the Academie 
Julien under Jean Paul Laurens. In 1905 four of his plates were ac- 
cepted at the salon. In Grez on the edge of the Forest of Fontainbleau. 
Mr. Webster etched his first plates during the autumn of 1901: "Studio 
windows" of which there are two plates, "Rue del'Abbaye." "Loing at 



183 

Grez," and "The Court, Bourron," the first of a series of Courtyard 
studies. 

Spring 1905 etchings were "St. Martin's bridge, Toledo," and "Mirada 
de las Reinas, Alhambra" seen from the Hall of the Ambassadors. 

December 1907 Mr. Webster's name Avas enrolled in the associate mem- 
bership of the Royal Society of Painter-etchers in London, of which the 
late Sir Francis Seymour-Hayden was president. He is the first etcher 
from Chicago, and one with less than a dozen other Americans who have 
been admitted to the Royal Society since its foundation in 1881. 

Weeks, Edwin Lord. b. Boston. Mass., 1849; d. Paris. France, Novem- 
ber 16, 1903. As a youth he studied art in Paris at the Ecole des Beaux 
Arts and afterwards under Leon Bonnat and (Jerome. At the age of 
twenty-nine he began to exhibit at the salon. 

Received honorable mention in the Paris salon of 1885, and a medal in 
1889; medals of the first-class at The Universal Exposition, Paris. L889; 
gold medal from Philadelphia Art Club, 1891; a grand diploma of honor 
at Berlin, 1891; medal at London, 1890; Dresden. 1897; Munich, 1897; 
special medal and prize at the Empire of India Exposition, London, 
1896; the same year was elected a chevalier of the Legion of Honor of 
France, and in 1898, an Officer of the Order of St. Michael. Bavaria. 

Mr. Weeks is particularly famous for his pictures of life in Cairo, 
Jerusalem, Damascus. Tangier and India. He made frequent trips to 
Eastern cities, traveling extensively in India. 

"The last voyage" shows his dramatic and scenic qualities and his 
careful observation of oriental air and color. 

Other famous paintings are named : 

"Jerusalem from the Bethany "Pilgrimage to the Jordan" 

road'' "Alhambra windows" 

•Scene in Tangier" "A .Moorish camel driver" 

••Avail story-teller" "Departure for the hunt, India" 

"A cup of coffee in the desert" "Packing the caravan" 

"Three beggars of Cordova" "The porter of Bagdad" 

•'A rajah of Jodhpore" "Steps in the mosque, Lahore" 
"Hindoo marriage" 

His pictures are notable for their rendering of sunlight effects, fine 
color and artistic truth. 

A well-known art critic says: ".Mr. Weeks is gifted with great facil- 
ity; his skill and sureness of eye and of hand in dealing with vast scenes 
are remarkable. Xo one has treated with greater effect and with such 
unhesitating directness, the great architectural backgrounds of India 
with their pluri-color richness and splendor of detail." 



184 



"He is ;i skilful draughtsman and an excellent colorist." 
Rumniell. ) 



(John 



Weir, Julian Aldex. b. West Point. N. Y., August 30, 1852. Studied 
art under his father, Robert Weir, who was instructor in drawing at 
West Point Military Academy, and with Gerome at the Ecole des Beaux 
Ails, Paris. Received honorable mention in the Paris salon of 1881, 
also numerous medals and honors. Was elected associate member of the 
National Academy of Design, New York, in 1885; full member, in 1886. 
Member of the Ten American Painters. 

Portraits and genre pictures are his specialty. An exquisite painter 
of flowers and a bold original etcher. He sent from Paris to the Na- 
tional Academy of Design, New York, in 1875 "A Brittany interior," in 
1S77 "At the water-trough," "Brittany peasant girl." "Brittany washer- 
woman," and "Study of an old peasant." 

His heads have attracted great attention in Paris, his symbolical can- 
vases such as "Muse of music*' gave him a high rank in this field of work. 
During student days he was intimately associated with Bastien-Lepage. 
The "Green bodice" is ;i canvas of rare distinction. 

In his later works — "The flower girl" and "Pussy-willows" his innate 
reserve and charm appear. 

Guy Pene DuBois says: "His work has a subtle quality and most of it 
idyllic peace or optimism." 

"Upland pasture" is a characteristic picture and his "Early morning" 
is strongly suggestive of Corot. 



Other well-known paintings are: 

"A bough of green apples" 

"China bowl with flowers" 

"The lane" 

"An autumn stroll" 

"A winter day" 

"Breton interior" 

"The good samaritan" 

"Ideal head" 

"Return of the fishing party" 

"A gentlewoman" 



"Silver flagon and Delft plate" 

"The young student" 

"The open book" 

"Lengthening shadows" 

"The plowman" 

"Young girl" 

"The miniature" 

"Oriana" 

"Dorothy and Cora" 

"Ploughing for buckwheat" 



and many portraits 

Kenyon Cox writes: "The paramount quality of his "Green bodice" 
is the prefection of tone and a dedicate observation of the gradations of 
light which would make it hold its own in any company." 

At a recent Carnegie Institute exhibition, thirty-seven paintings of 
this artist were a special feature, and of this collection a critic writes: 



L85 

"Both landscape and figure paintings are shown and to an extent they 
epitomize the spirit of American painting." (Arts and Decoration, .June. 
1911.) 

"Always full of space and light, liis paintings are distinguished for a 
broad handling, truthful and luminous color and harmony of tone." 

Welch, Mabel R., Miniature painter, b. New Haven, Conn. Pupil of 
Kenvon Cox, New York; Courtois, Paris. Member Art Students League, 
N. Y., also American Society of Miniature Painters. A teacher. 

Her miniature works possess much charm of color, much judicious 
placing of the subject within the frame, and no inconsiderable excellence 
of technical treatment. 

Aside from color, the interest inn quality of Mrs. Welch's miniatures 
is their breadth of treatment. "Breadth is easy of achievement given the 
artist to do it on a 5-foot canvas, but breadth which has to compromise 
with refinement on less than a 5-inch ivory, is another matter. (I. S. 
39: xcii.) 

Her "Study of a child" is a delightful rendering of sweetness and in- 
nocence. 

Wentworth, Mrs. Decile de, b. in New York City. Pupil of the 
Sacred Heart Convent and of Cabanel and Detaille in Paris. 

Received gold medal at Tours, Lyons and Turin; honorable mention 
Paris salon, 1891; bronze medal, Paris Exposition, 1900; chevalier of the 
Legion of Honor of France. 1901 ; officer of Public Instruction of France; 
Order of Holy Sephulchre from Pope Leo XIII. 

Represented in the Luxembourg Gallery, Paris, and in the Metropoli- 
tan Museum of Art, New York. 

Wenzell, Albert Beck. Illustrator, b. Detroit, Mich., 1864. Pupil of 
Strahuber and Loefftz in Munich, and Boulanger and Lefebvre in Paris. 

Received silver medal at Pan-American Exposition, Buffalo, 1901 ; 
silver medal at St. Louis Exposition. 1904. 

His work as an illustrator is marked by great orginality of treatment. 

Whistler. James Abbott McNeill — "The painter of protest" — b. 
Lowell. Mass., 1834; d. Chelsea, England, July IT. 1903. Was taken as 
a child to Russia ; after his father's death he returned to America and 
entered the Military Academy at West Point. Being a poor student and 
failing in chemistry, he was recommended to be discharged in 1854; after 
a short employment in the United States Coast Survey at Washington 
he went to Paris and entered the studio of Charles Gabriel Gleyre, where 
Degas. Bracquemond and Fantin-Latour were his favorite companions. 
Two or three years later he left Paris and took up permanent residence 




JAMES ABBOTT McNEILL WHISTLER. 



187 

in London. In 1860 "At the piano" was exhibited at the Royal Academy. 
London. His success began with the "White girl" exhibited in 1863 in 
the Salon des Refuse's, Paris. 

In 1883 Mr. Whistler sent the portrait of his mother to the Paris salon 
and received a third-class medal ; in 1889 he received the cross of the 
Legion of Honor. 

He was a member of the Society Rationale des Artistes Francais, hon 
orarv member of the Royal Academy of St. Luke, Rome, commander of 
the Order of the Crown of Italy, honorary member of the Royal Academy 
Bavaria, chevalier of the Order of St. Michael, and honorary member of 
the Royal Academy Dresden, but most unjustly he was never elected to 
the Royal Academy of London. 

Elizabeth Luther Cary, in her recent work on Whistler gives a tenta- 
tive list of Whistler's works. She catalogs 528 oils, water-colors and 
pastels, 161 lithographs and 426 etchings as his principal works. 

He always called his pictures •'harmonics." ••symphonies," ••nocturnes" 
and •'arrangements.'' The portrait of his mother, the ''Thomas Carlyle" 
and "Miss Alexander" are usually considered the height of his achieve- 
ments. 

C. H. Caffin most interestingly writes: "None but a man of peculiar 
sweetness of mind could have conceived that masterpiece in the Luxem- 
bourg. "The portrait of my mother." 

"It was with the night that Mr. Whistler set his seal and sign manual 
upon art.*' writes George Moore; "above all others lie is surely the inter- 
preter of the night." 

C. H. Caffin also says: "His art was the product of most delicate se- 
lection ; a hybrid derived from the intermingling of many strains — 
Velasquez, Rossetti, the impressionists and Japanese — with his own 
rarely gifted personality, itself a curious mingling of aristocratic 
hauteur and spiritual sensibility." 

William C. Brownell, the art critic, has spoken of Whistler as, "per- 
haps the most typical painter and the most absolute artist of the time." 
His fame is now an international one; his Avorks and personality have 
been before the public for more than forty years. 

Of Whistler's etchings, Bryant, in "Pictures and their painters." says : 
"But two men in the whole history of the world — Rembrandt and Whist- 
ler — have been able to use the etching needle with such skill that every 
object in the scene becomes as much a piece of portraiture as though it 
were a portrait. Both of them produced etchings that were without 
flaw." 

Whittemore, William John, Miniature painter, b. New York City, 
March 26. 1860. Pupil in New York of William Hart. N. A. D. and 



L88 

Ait Students League under Beckwitk; Lefebvre and Benjamin-Constant 
in Paris. 

Received silver medal for drawing at Paris Exposition, 1889. Member 
American Society of Miniature Painters; associate member of National 
Academy. 1897. 

A critic calls attention most visibly to his sympathetic though never 
mawkish portrait studies of children. 

"The burgomeister" has much strength and a wonderful color. "Pan- 
dora" is an interesting figure composition. (Critic 47 -..11*."). I 

Wiggins, Carl-eton, b. Turners. N. V.. March 4, ISIS. Educated in 
public schools of Brooklyn, N. Y. Studied art with II. CarmienCke of 
Brooklyn, drawing at the National Academy of Design. New York, and 
landscape painting with Inness. He was unsuccessful from both an ar- 
tistic and commercial standpoint with his landscape work, and turned his 
attention to cattle painting. He met with immediate success and is now 
the most distinguished painter of cattle and slice]) in the United States. 
I limes' "Schools of painting.") He was elected associate member of the 
National Academy of Design in 1890; full member, in 1906. 

The Paris salon of 1891 accepted his "Shepherd and his Hock." 

"A Holstein bull" "Three oaks" 

"The wanderers" "Morning on the hills" 

"Plough horse" "Normandy bull" 

"Down the lane at twilight" "Evening — Forest of ■Fontaine 
"The pasture lot" bleau" 

"Ploughing in France" "Near Great South Bay" 

"After wind — rain" 

"He chooses principally American motives and his pictures carry the 
evidence of their truth to nature. His technical skill is great, his color 
warm and vibrant and his construction shows he has a thorough knowl- 
edge of form." (Nat. Cyc. Am. Biog.) 

"Mr. Wiggins is at his best when he paints landscape with animals 
rather than animals with landscape." (Artist 20:iv.) 

Wiles, [rving Ramsey, b. Utica, N. Y., April S, 1861. Was educated 
at Sedgwick Institute, Great Barrington, Mass. His father, a gifted 
painter of landscapes was his first instructor in art; he was also a pupil 
of William M. Chase and although he subsequently studied in Paris with 
Carolus-Duran and Jules Lefebvre, he returned to America to work, 
definitely to express himself as an American artist. 

He has never been identified with any special school or any new move- 
ment. Has received third Hallgarten prize of the National Academy of 



189 

Design, New York; honorable mention in the Paris salon and several 
medals. Was elected member of the National Academy of Design, New 
York in 1897. 

He has been called the "Artist's painter" and chiefly busies his brush 
with portrait and figure paintings. His illustrations are well known to 
art readers of Century, Harper, Scribner, etc. 

His work is characterized by a charming simplicity of idea and treat - 
ment, and "Memories" now owned by .Mr. Carnegie, is an admirable ex- 
ample of those qualities of his art." (Nat. Cyc. Am. Biog.) 

Among his works are: 

"On the beach" "Girl and horse" 

"The student" "Noon" 

"Quiet corner" "The green gown" 

"Sunshine and flowers" "The window" 

"Sunshine in the studio" "With hat and veil" 

"The southwest wind" "Among Canada thistles 

"A breezy day" "Discouraged" 

"The black shawl" "Brown kimono" 

"An autumn stroll" "The Sonata" (prize picture) 

Portrait of "My father and mother." portrait of Julia Marlowe; his 
portrait of Mrs. Gilberl is a masterpiece of portraiture. 

"The wholesome realities of life are depicted in Mr. Wiles' canvases — 
the gladness of childhood, the dignity of age — and the glory of good 
work." 

"He represents no intricate symbolism in his work; no revelation of a 
nature complicated beyond power to express its thoughts. He has found 
the ideals of art in the realities of life. His daughter has been the in- 
spiration of some of her father's most distinguished works." (Arts and 
Decoration, Aug. 1911.) 

Willet, William, Stained glass designer, b. New York City, Novem- 
ber 1, 1868. Pupil of Whittaker, Chase and LaFarge in New York; 
studied also in France and England. Author of "Stained glass in our 
churches;" Lectured on applied arts at Carnegie Technical Schools. 

The most important representative of the new school of stained glass 
workers. Beginning his art career as a portrait painter, he turned to 
decorative work. "It is this feeling for design joined with a subtle appre- 
ciation of color, that makes his work notable." 

The design for "The spirit of the water lily" a memorial window in the 
home of Mr. George I. Whitney of Pittsburgh, shows exquisite draughts 
manship and mastery of symbolism. 

In the "Marriage of Isaac and Rebecca" the artist has more scope for 



190 

color. The finest work is undoubtedly the window recently executed in 
the Third Presbyterian Church at Pittsburgh, depicting the parable of 
the "Wise and the foolish virgins.'' "It bears brilliant witness to the 
vitality and promise of American art." 

Wright, M. Louise Wood, Miniature painter, b. Philadelphia, Pa., 
1875. Pupil Pennsylvania Academy of the Fine Arts, Whistler and 
Aeademie Julien, Paris; F. W. Jackson, England. 

Received Toppan prize Pennsylvania Academy of the Fine Arts. A 
teacher. 

Wyaxt, Alexander Helwig, b. Port Washington, O., January 11, 
1836; d. New York, November 20, 1802. First occupation was that of a 
sign painter in his native village. At the age of twenty-two he consulted 
Inness on art matters; later went to Diisseldorf and studied under Hans 
Gude. subsequently in London he studied the works of Turner and Con- 
stable. Settled in New York after 1864. Losing the use of his right hand 
from paralysis, he learned to paint with the left with no dimunition of 
skill. Long before his death he was ranked with Inness as a landscape 
painter. Much of his work consists of variation on a single note. His 
typical picture is a glimpse of sunny rolling country seen between the 
trunks of trees that have grown tall and slender in a wood, usually 
birches or maples. This he painted with sure, firm brush work, which 
enabled him, when he would, to model the summer clouds and give the 
foreground detail with exactness yet without losing for an instant the 
unity, the sentiment and silvery shimmer peculiar to his work. In a 
certain delicate refinement none of our artists have equalled him. 

His first picture exhibited in New York "A view of the valley of the 
Ohio river" was at the National Academy of Design in 1865. He was 
elected associate member of the academy in 1868 and full member in 1869. 

"Many of his landscapes are truly idyllic in character and full of 
tender and poetic sentiment. Others are beautiful interpretations of the 
more dramatic moods of nature or representatives of the wild and 
rugged scenery of the Adirondacks." ("Aims and ideals of representa- 
tive American artists.") 

Of the exquisiteh' poetic feeling with which he loved to invest his 
scenes, "Early morning" is a glorious example. (Caffin.) 

Of his "Moonlight and frost'' (painted at a single sitting) it is said: 
"It is bathed in the mystic sheen of the moonlight which has impressed 
itself on the soul of the painter and is instinct with the very spirit of 
frost, chilled to intensity in the picture, as it must have been in the 
artist. 

A few of his pictures in oil are: 



191 

"Staten Island from the Jersey "The old road — Evening" 

meadows" "Hoosatonic valley" 

-The bird's nest" "Early twilight" 

"Scene on the Upper Susque- "A glimpse of the sea" 

hanna" "View in County Kerry, Ire 

"A view on Lake George" land" 

"Broad silent valley" "Spring" 

"The wilds of the Adirondack^" 

"Gray days had more allurement than sunny ones and his works are 
found to have a lyric quality which in a measure Inness' lacks." 

Yoiin. Frederick Coffay, Illustrator, b. Indianapolis, Ind., February 
S, 1875; made his art debut when he was nineteen, in the pages of Harper 
periodicals. From his home in Indiana he went to New York to study 
at the Art Students League where he was a pupil of Mr. Siddons Mow- 
bray. 

Was selected to supply the drawings that accompanied the frontier 
sketches of Theodore Koosevelt. This recognition was followed by a com- 
mission to illustrate Mr. Cabot Lodge's "Story of the American Revolu- 
tion." 

He makes the story-telling quality of a picture easily felt in his com- 
position, and projecting his motive with admirable appeal. 

"Mr. Yohn's ultimate purpose is to paint battlepieces, but in illus- 
trating he prefers to do character work — it is the soldier type that has 
so far identified him." 

"His military compositions have suggested him as a successor to De 
Neuville." 

Invests his versatile compositions with stirring vigor and dramatic 
interest. 

Noted for his spirited battle scenes. (P>. & P. 2:161.) 



BIBLIOGRAPHY 



25 



f"BV / u 



BIBLIOGRAPHY 



GENERAL. 



Appleton's Cyclopaedia of American Biography, X. Y. 1887. 
Champlin and Perkins "Cyclopedia of Painters and Painting." Charles 

C. Perkins critical editor, N. Y. 1887. 
Dictionary of National Biography, Edited by Stephen & Lee, London 

and N. Y. 1885-1900. 
Lamb's Biographical Dictionary of United States. Boston. 1*1(1(1. 
Levy. Florence, ••American Art Annual," vols. 1-8, New York. 
The National Cyclopedia of American Biography, X. Y. 1898. 
The New International Encyclopedia, N. Y. L892-1904. Pub. A. N. 

Marquis & Co. Chicago. 
"Who's who in America." Vols. 1-6. 

SPECIAL. 

Addison, Julia de Wolf, ''The Boston Museum of Fine Arts." Boston, 
1910. 

••American Artists" by leading American writers. Boston. 

Benjamin, S. (J. W. "Our American artists." 1st and 2nd series. Bos- 
ton, 1881. 

Brinton, Christian "Modern artists" N. V. BIOS. (Melchers, Sargent, 
Shannon, Whistler). 

Bryan's Dictionary of painters and engravers. 

Bryant, Lorinda M. "Pictures and their painters." N. Y. 1907. 

Caffin, C. H. "American masters of painting." N. Y. 1902. 

Caffin, C. H. "American masters of sculpture." N. Y. 1903. 

Cary, Elizabeth Luther "Artists past and present." N. Y. 1909. 

Child, Theodore "Art and criticism." X. V. 1892. 

Clements. "Women in the fine arts." Boston, 1901. 

Clements and Hutton, "Artists of the nineteenth century." Boston. 
1 sso. 

Cook, Clarence "Art and artists of our times." (Weir, 3rd vol.) 

Cortissoz, Boyal "John LaFarge." Boston and N. Y., 1911. 

Cox. Kenyon "Old masters and new." N. Y., 1905. 

Downes, William Howe "Twelve great artists." Boston, 1900. 

Downes, William Howe "Life and works of Winslow Homer." Boston 
and N. Y.. 1911. 
26 



196 

Eaton, I). Cady "A handbook of modern French painting." N. V.. L909. 
''Famous etchers." Boston. 

''French, H. W. "Art and artists of Connecticut." Boston, 1ST!). 
Hart maun. Sadakichi "A history of American art." Boston. 1 1M Hi. 
Hawthorne, Nathaniel "The French and Italian note-hooks." N. V.. 

IS! I! I. 
Hind, C. Lewis "Augustus Saint-Gaudens." X. Y., 1908. 
Hoeber, Arthur "The treasure of the Metropolitan Museum of Art." 

N. Y., 1899. 
limes, Mary and DeKay, Charles "Schools of painting." X. Y. and 

London, 1911. 
Isham, Samuel "The history of American painting." X. Y., 1905. 
Janes. .lames Jackson, "The art idea." Boston and X. Y. 
King, Pauline "American mural painting." Boston, 1902. 
Knowlton, Helen M. "The art and life of William Morris Hunt." 

Boston, 1900. 
Koehler, S. R. "Etching." X. V.. London, Paris, Melbourne. 1885. 
Leonard, John "Men of America." X. Y., 1908. 
Mauclair. Camille "The French impressionists." London. (Mary < 5as- 

satt.) 
Maynell, Wilfred "The modern school of art." (Tedder, vol. 4.) 
Meynell, Mrs. "Works of .John Singer Sargent." 
Moore. George ".Modern painting." X. Y. L898. (Mark Fisher.) 

McSpadden, .J. Walker "Famous painters of America." X. Y. 

1907. (Abbey, Chase, Copley, Homer, Innes, Lafarge, Sargent. 

Stuart. Yedder. Whistler.) 
Miither, Richard "History of modern painting." X. Y., 1896. 
Noble, Louis L. "Life and works of Thomas Cole." X. V., 1853. 
Preyer. David C. "The art of the Metropolitan Museum of New York." 

Boston. l!)l>!>. 
Kadclitfe. A. G. "Schools and masters of sculpture." X. Y., 1894. 
Rathbun, Richard "The National Gallery of Art. (Washington.)" 

Washington. 1909. 
Rummell, John "Aims and ideals of representative American painters." 

Bui'.. L901. 
Sheldon, George W. "American painters." London, 1ST!). 
Spencer, Edwina "Story of American painting." Chautauquan vols. 

48, 4!). 50. 
Taft, Lorado "The history of American sculpture." X. V., 1903. 
Tuckerman, Henry T. "Book of the artists." X. V. and London, 1870. 
Viardot, Louis "Wonders of sculpture." X. Y. 1873. 
Wharton, Anna Hollingsworth "Heirlooms in miniatures." Phila. and 

London. 1898. (Edward Greene Malhone. ) 



HIT 



PERIODICAL REFERENCES. 



Abbey, Edwin Austin 

W. Work 16:10191 

The artist 29:169 

Harp. M. 100:875; 105:525 

Internat. S. 15: sup. lvi; 17: sup. lxxix 

R. of Rs. Sept., 1911, p. 300 

Arts & Dec. Sept., 1911, p. 444 

Arts & Prog. Oct., 1911, p. 347 

Craftsman Oct., 1911, p. 10 

Internat. S. Oct., 1910, p. lv 

Scrib. 44:656 

Nation 86:384 
Alexander, John White 

Arts & Dec. Feb., 1911, p. 147 

Craftsman 10:46 

Internat. S. 34:lxxxv 

Harp. M. 99:694; 114:845 

Outl. 95:171 

Scrib. 25:340; 45:45 

W. Work 9:56S2 

Munsey 39:744 
Anschutz, Thomas Pollock 

B. & P. 4:277 
Barnard, George Grey 

Cent. 31:877 

II. of Rs. 19:49; 38:689 

W. Work 5:2837; 17:11256 

W. Today 16:273 

Internat. S. 36: sup. xxxix 

Craftsman 15:270, 16:437 
Beaux, Cecilia 

Internat. S. 41:337 

B. & P. 6:81 

Critic 47:39 
Beckwith, J. Carroll 

Scrib. 47:449 

The artist 26:lxvii 
Benson, Frank Weston 

Arts & Dec. Mar., 1911, p. 195 

Internat. S. 27:lxxxiv; 35:xcix 

Harp. M. 119:105 

B. & P. 6:145 
Blakelock, Ralph Albert 

The artist 29:xviii 

B. & P. 9:257 



Internat. S. 27:lx 

Scrib. 34:640 
Blashfield, Edwin Howland 

Internat. S. 24: sup. lxxxvii 

Internat. S. 35: sup. Ixix 

Internat. S. 43: sup. liii 

R. of Rs. 22:191 

Outl. 67:286 

Ind. 53:1795 

The artist 27: sup. viii 

Scrib. 44:125 

Critic 47:233 
Blum, Robert E. 

Internat. S. 21: sup. clxxvii 

The lamp 26:473 
Bogert, George H. 

The artist 24:lxi 

B. & P. 4:125 

Internat. S. 21: sup. ccix 
Borglum, John Gutzon 

The lamp, 24:624 

Craftsman 14:27 

Internat. S. 28:35 
Borglum, Solon Hannibal 

W. Works 3:1857 

Craftsman 12:382 
Breuer, Henry Joseph 

Internat. S. 39: sup. xlix 
Bridgrran, Frederic Arthur 

The artist 29:138 
Browne, George Elmer 

B. & P. 14:107 

Internat. S. 36:286 
Brush, George deForest 

Internat. S. 34: sup. xlvii; 39:187 

B. & P. 5:266; 6:205 
Cadwalader-Guild, Emma Marie 

Internat. S. 27:xliv 
Carlsen, Emil 

Internat. S. 27: sup. xliii; 39:10 
Cassatt, Mary 

Internat. S. 27: sup. 1; 35: sup. xxxi 

Scrib. 46:734 

Cur. Lit, 46:167 

Delin. 74:121 



198 



Harp. B. Nov., 1911, p. 490 
Chase, William Merritt 
Internat. S. 39: sup. xxix 
Studio (Lond.) 12:151 
Craftsman 18:33 
Critic 48:575 
Cooper, Colin Campbell 

B. & P. 18:72 
Couse, Eanger Irving 
Craftsman 18:619 
The artist 27:xii 
Cox, Kenyon 

Internat. S. 32:3 
Dabo, Leon and T. Scott 
B. & P. 17:3 
Craftsman 13:261 
Cur. Lit. 41:524 
W. Today 12:76 
Internat. S. 27:173; 39: sup. lv 
Dannat, William T. 

Craftsman 6:154 
Davis, Charles Harold 

B. & P. 4:40, 122 
Dearth, Henry Golden 

Cent. 48:157 
DeCamp, Joseph R. 
N. Eng. Mag. 39:239 
Arts & Dec. Apr., 1911, p. 148 
Dessar, Louis Paul 
B. & P. 5:97 
The artist 24:lix 
Internat. S. 27:lxvi 
Duveneck, Frank 

Arts & Dec. July, 1911, p. 382 
Enneking, John J. 
W. Today 16:517 
B. & P. 10:335 
Ezekiel, Moses Jacob 
W. Work 19:12255 
Fisher, Harrison 
Bkmn. 11:40 
Cosmop. 49:135 
Fournier, Alexis Jean 
B. & P. 4:243 
B. & P. 11:140 
Arts & Dec. Nov., 1910, p. 18 
French, Daniel Chester 
Cent. 37:871 
Atl. 75:223 
B. & P. 5:145 
B. & P. 8:43 
N. Eng. Mag. 16:259 



Frieseke, Frederic Carl 

Internat. S. 43:270 
Fuller, George 
B. & P. 6:209 
Harp. M. 69:517 
Internat. S. 35: sup. 92 
Fuller, Lucia Fairchild 
Critic 47:524 
Cent. 60:820 
B. & P. 6:26 
Gifford, Robert Swain 

B. & P. 15:201 
Glackens, William J. 

Bkmn. 11:244 
Groll, Albert I. 
Craftsman 9:826 
B. & P. 18:43 

Internat. S. 27:lxvi; 28: sup. 78; 29: 
270 
Guerin, Jules 

The lamp, 39:293 
Gutherz, Carl 

Internat. S. 24: sup. lxxxi 
Harrison, Birge 
Scrib. 42:576; 43:283 
Craftsman 13:397 
Studio 13:149 
Harrison, T. Alexander 

B. & P. 4:133 
Hassam, Childe 
Internat. S. 29:267 
The artist 27:xxviii 
B. & P. 8:141 
Higgins, Eugene 

Craftsman 12:135 
Hills, Laura Coombs 
Internat. S. 41:xlvi 
Critic 47:523 
B. & P. 4:227 
Hitchcock, George 
Cent. 48:318 
Internat. S. 26: sup. 1 
Homer, Winslow 
Internat. S. 34: sup. cxxv 
B. & P. 6:202:10:40; 11:271 
W. Work 21:14009 
Cur. Lit. 45:54 
Critic 43:548; 46:323 
R. of Rs. 38:102 
Outl. 96:338 
Hornby, Lester G. 
Internat. S. 27:122 



199 



Hunt, William Morris 

Internat. S. 35: sup. xciv 
Hutt, Henry 
Bkmn. 11:140 
Bkbuy. 22:22 
B. & P. 2:15 
Hyde, Helen 
B. & P. 11:241 
Internat. S. 24:239 
Internat. S. Nov., 1911 
Inness, George 
Mo. Ills. 3:258 
1'ub. Opin. 18:207 
Cent. 27:530 
Critic 26:17 
Forum 18:301 
Outl. 73:535 

Masters in art 9:215 bibliog. 
Kemeys, Edward 
Cent. 6:214 
McClure 5:120 
Internat. S. 26: sup. 10 
Kendall, William Sergeant 
Cent. 50:478 
Harp. M. 117:568 
Arts & Dec. Nov., 1910, p. 15 
LaFarge, John 
Craftsman 8:312; 9:369 
Internat. S. 4:335, 466; 38: sup. 83, 

103 
Scrib. 26:3; 37:604, 638 
Outl. 84:479; 90:518 
W. Work 21:14085 
Lamb, Charles Rollinson 
Lamb, Ella Condie 
Lamb, Frederick Stymatz 
Craftsman 13:420 
Outl. 70:571 
Loeb, Louis 
The artist 24:xiii 
Internat. S. 27:lxxxvii 
Cent. 79:74 
Outl. 92:871 
Harp. W. 53:33 
Luks, George B. 

Craftsman 12:599 
MacEwen, Walter 

B. & P. 11:301; 19:21 
MacMonnies, Frederick W. 
Scrib. 18:617 
Studio (London) 6:17 
B. & P. 10:1 



Internat: S. 29:319 

W. Work 11:6965 

Martin, Homer Dodge 

Internat. S. 35:255 
Melchers, J. Gari 
B. & P. 5:267 
Internat. S. 31: sup. 11 
W. Work 15:10092 
Mag. of art 24:262 
Harp. M. 114:430 
Metcalf, Willard Leroy 
N. Eng. Mag. 39:374 
Internat. S. 39:8 
Quart. Ills. 3:93 
Cent. 77:155 
Millet, Francis Davis 
R. of Rs. 31:713 
Internat. S. 32: sup. cxi 
Craftsman 15:426 
W. Work 19:12378 
The artist 26:lxiv 
Moran, Mary Nimmo 
B. & P. 8:3 
Scrib. 46:731 
Murphy, John Francis 

B. & P. 10:205 
Nourse, Elizabeth 
Internat. S. 27:247 
Cur. Lit. 48:90 
Art & Prog. July, 1911 
Cent. 37:481 
Oakley, Violet 
Arch. Rec. 22:455 
Critic 36:521 
Scrib. 41:637 
Cent. 70:265 
Ochtman, Leonard 
B. & P. 4:125; 9:65 
The artist 24:lix; 27. v, xi 
Osthaus, Edmund Henry 

B. & P. 18:81 
Pape, Eric 

N. Eng. Mag. 39:455 
Parrish, Maxfield 
Outl. 79:829 
Ind. 59:1398 
Critic 46:512 
Internat. 29:35 
Pennell, Joseph 
B. & P. 12:81 
Picknell, William L. 
Cent. 40:710 



200 



Pratt, Bela L. 

N. Eng. Mag. n. s. 39:632 

Cent. 73:722 

Internat. S. 38: sup. 3 
Pyle, Howard 

Outl. 85:453 

Craftsman 15:502 

Nation Nov. 16, 1911 

Internat. S. 45: sup. lxxi 
Ranger, Henry W. 

Internat. S. 29: sup. xxxiii 

B. & P. 16:39 

Cent. 70:636 
Redfield, Edward W. 

Internat. S. 41: sup. xxix; 27: sup. 
xxxviii 

Arena 36:20 ' 

Country Life 13:194 
Reid, Robert 

Craftsman 7:699 

The artist 24:lxiv; 27:ix 

Internat. S. 36: sup. cxiii 

Arts & Dec. Nov., 1911 
Remington, Frederic 

Craftsman 15:658 

Cur. Lit. 33:653; 43:521 

Scrib. 32:408 

Nation 89:662 
Robinson, Theodore 

B. & P. 4:285 
Rolshoven, Julius 

The artist 26:185 

Internat. S. 27 : ciii 
Saint-Gaudens, Augustus 

No. Am. Rv. 177:725 

Chaut. 38:460 

W. Work 7:4403; 14:9285 

B. & P. 12:262 

Outl. 84:199 

Arena 38:385 

Nation 85:115 

Craftsman 9:369 

Cent. 74:968 

Cur. Lit, 43:279 

R. of Rs. 36:290 
Sargent, John Singer 

Cent. 52:163 

Scrib. 34:515 

W. Work 7:4099 

Studio (London) 10:3, 107 



Critic 47:326 

Munsey 36:265 

R. of Rs. 36:692 
Scudder, Janet 

Internat. S. 39:lxxxi 
Shannon, J. J. 

Munsey 14:129 

Studio (London) 8:67 

Harp. M. 111:204 
Simmons, Edward E. 

B. & P. 5:241 

Ind. 53:1795 
Sterner, Albert E. 

B. & P. 5:193 

Internat. S. 35:liv 
Stephens, Alice Barber 

B. & P. 6:241 
Taft, Lorado 

Cur. Lit. 44:515 

W. Today 14:191 

Craftsman 14:12 
Tanner, Henry O. 

Cosmop. 29:18 

Cur. Lit. 45:404 

Outl. 64:796 

Ind. 65:1600 

W. Work 18:11661, 11769 

The artist 26:lxv; 27 :v 

B. & P. 6:97 
Tarbell, Edmund C. 

Critic 48:136 

The artist 27:lxxv 

Internat. S. 32 : lxxv 

W. Today 11:1077 
Thayer, Abbott Henderson 

S. Internat. 6:247 

Internat. S. 33: sup. lxxxi; 39:187 

Critic 46:522 

Pop. Sci. 75:550 

B. & P. 6:207 
Tiffany, Louis C. 

The artist 24:iv 
Twachtman, John Henry 

Ind. 58:147 

No. Am. Rv. 176:554 

The artist 27:xxviii 
Vedder, Elihu 

Outl. 96:693 

Bkmn. 32:321 

Internat. S. 35: sup, xciv 

The artist 27:xv 



201 



Vonnoh, Bessie Potter 

B. & P. 2:29 
Vonnoh, Robert 

The artist 29:xii 

Internat. S. 27: sup. lxxxvi 
V.'alker, Henry O. 

Internat. S. 27: lxxxvi 
Walker, Horatio 

Arts & Dec. Dec, 1910 

Craftsman 14:138 

Harp. M. 117:947 

Can. Mag. 18:495 

B. & P. 6:82 
Ward. John Q. A. 

Harp. 57:62 

Scrib. 32:385 
Warner, Olin L. 

Cent. 15:392; 24:436 

Scrib. 20:429 



Waugh, Frederick J. 

Arts & Dec. Jan., 1911, p. Ill 
Whistler, James A. McNeill 

Internat. S. 21:3 

Scrib. 35:637 

Internat. S. 21:208; 29:237; 30:127 

W. Work 6:3923 

Bibliog. in "Masters in art" vol. 
Wiles, Irving Ramsay 

Arts & Dec. Aug., 1911 

Craftsman 14:602 

Harp. M. 114:608 

R. of Rs. 34:40 
Wyant, Alexander Helwig 

B. & P. 11:184 
Yohn, F. C. 

B. & P. 2:161 



-B '12 



* 



